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columbia57.bsky.social
SAL
@columbia57.bsky.social
440 followers 220 following 1.2K posts
Do my own thinking, subscribe to neither left nor right ideologies. “Likes” don’t always signal agreement, merely that a post is interesting. Liars quickly blocked. Interest in lipo(a).
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simonwdc.bsky.social
Trump is attempting to seize three public golf courses in Washington, including one adjacent to the Mall. We simply cannot let this happen.

www.washingtonpost.com/politics/202...
Trump moves on D.C. golf courses with notice that jeopardizes lease
The administration puts National Links Trust on the clock in a bid to take control of the city’s three public golf courses.
www.washingtonpost.com
December 13, 2025 at 5:20 PM
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ambabheg.bsky.social
365 Challenge No.2 2025 - Publish a photo each day on a weekly topic
Week 50 (Abstract) - Day 2 - Orange rose
#fotosbyfaj #365challenge2025 #abstract #photograpy #bluesky
more at fotosbyfaj.com
December 14, 2025 at 7:11 AM
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everwyn.bsky.social
Good morning.

From my #landscape #art, #illustrationart, and #photography portfolio: "Winter Morning by the Sea"
December 13, 2025 at 12:30 PM
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mdstamper.bsky.social
“I Go To Prepare A Place For You” by Bisa Butler (American) - Quilt of cotton, silk and velvet / 2021 - National Museum of African American History & Culture #womeninart #womanartist #quilt #art #HarrietTubman #BisaButler #Smithsonian #AfricanAmerican #AmericanArt #womensart
#AfricanAmericanHistory
This modern quilted and appliquéd textile portrait of Harriet Tubman by American artist Bisa Butler is based on the carte-de-visite photograph portrait of Tubman by Benjamin F. Powelson from 1868/1869. The legendary American abolitionist and social activist is depicted in bright-colored fabrics against a dark floral background. Tubman gazes directly at us, her right arm on the back of the chair and her left hand in her lap. Her face and hands are shown in contrasting shades of blue and purple with rich reds, symbolizing her coolness, calmness, and strength as well as her power and force. Her hair is made of a deep velvet cloth, soft and opulent to mimic the soft texture of some African American hair. Her intricately boned corset is composed of a black fabric with floral bouquets representing women as the source of life and infinity. Every flower is different as is every woman. There is a swath of orange fabric across the chest and a bright blue fabric along the center row of buttons, beneath a distinctive white collar. Yellow fabric with red birds denoting freedom compose the sleeves of Tubman’s dress. The wide, pleated skirt is comprised of fabric based on designs by women from the Congo River including: a round section with a vibrant purple and orange floral motif against a bright teal background; an orange lion, an embodiment of Tubman; gold and orange ferns and palm fronds against a green background, symbolizing African heritage; thick foliage at the bottom of the skirt opening to a clearing to signify a journey to freedom; an orange wave hem to symbolize pain and turmoil yet small seeds grow and become flowers, symbolic of strong women; pleats or stripes evocative of the fields of crops Tubman labored in. Black and white kente fabric composes the chair, suggesting a royal throne. The dark background with purple sunflowers and blue dots, reminiscent of the night sky, signify Tubman’s travels in the night and her tremendous faith. Source: Smithsonian
March 31, 2025 at 2:45 PM
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lronlacy.bsky.social
the assistance of the Carnegie Corporation, and in the two centers Negroes of all ages are given the opportunity of training.’
‘The Janitor Who Paints’ by #PalmerHayden (1890-1973) was inspired by his friend, Boykin, who, like himself, had supported himself as a janitor.
👉ALT
Oil on canvas. Repainted after 1940. Smithsonian American Art Museum - Gift of the Harmon Foundation. ‘In a 1969 interview [Palmer] described “The Janitor Who Paints” ... as “a sort of protest painting” of his own economic and social standing as well as that of his fellow African Americans. Hayden said his friend Cloyd Boykin, an artist who, like Hayden, had supported himself as a janitor, inspired this piece: “I painted it because no one called Boykin the artist. They called him the janitor.” Details within the cramped apartment — the duster and the trashcan, for example — point to the janitor’s profession; the figure’s dapper clothes and beret, much like those Hayden himself wore, point to his artistic pursuits. Hayden’s use of perspective was informed by modern art practices, which favored abstraction and simplified forms. ‘ https://americanart.si.edu/artwork/janitor-who-paints-10126
October 21, 2025 at 1:12 PM
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visualsancients.bsky.social
Commemorative female trophy head made of copper alloy and iron inlay.

Late 15th - early 16th century, Kingdom of Benin (1180–1897), modern southern Nigeria. Benin Bronzes displayed at the Smithsonian National Museum of African Art.

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March 13, 2025 at 2:30 PM
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jimprov.sendusyourmoney.com
Palmer Hayden (1937)
"The Janitor Who Paints" oil on canvas ----- [from the Smithsonian American Art Museum] ----- Palmer Hayden was known for his paintings of the African American scene. In a 1969 interview he described The Janitor Who Paints, created around 1930, as "a sort of protest painting" of his own economic and social standing as well as that of his fellow African Americans. Hayden said his friend Cloyd Boykin, an artist who, like Hayden, had supported himself as a janitor, inspired this piece: "I painted it because no one called Boykin the artist. They called him the janitor." Details within the cramped apartment—the duster and the trashcan, for example—point to the janitor's profession; the figure's dapper clothes and beret, much like those Hayden himself wore, point to his artistic pursuits. Hayden's use of perspective was informed by modern art practices, which favored abstraction and simplified forms. He originally exaggerated the figure's facial features, which many of his contemporaries criticized as African American caricatures, but later altered the painting. He maintained the janitor as the protagonist as it represented larger civil rights issues within the African American community.
August 22, 2025 at 3:16 PM
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jimprov.sendusyourmoney.com
William H. Johnson (ca. 1941)
"Jitterbugs (II)" oil on paperboard ----- [from the Smithsonian American Art Museum] ----- William H. Johnson created four paintings of the jitterbug, a dance craze that came out of Harlem and made its way into America's "swing" culture just before the Second World War. Here, the woman dips dramatically into the arms of her partner so that the two figures become one shape of contrasting colors and patterns. Sharp angles and spiraling patterns on the floor and walls emphasize the fast, athletic pace of skilled dance partners. -- [biography] -- By almost any standard, William H. Johnson (1901–1970) can be considered a major American artist. He produced hundreds of works in a virtuosic, eclectic career that spanned several decades as well as several continents. It was not until very recently, however, that his work began to receive the attention it deserves. Born in South Carolina to a poor African-American family, Johnson moved to New York at age seventeen. Working a variety of jobs, he saved enough money to pay for an art education at the prestigious National Academy of Design. His mastery of the academy's rigorous standards gained him both numerous awards and the respect of his teachers and fellow students. [...] Although Johnson enjoyed a certain degree of success as an artist in this country and abroad, financial security remained elusive. Following his wife's death in 1944, Johnson's physical and mental health declined dramatically. In a tragic and drawn-out conclusion to a life of immense creativity, Johnson spent his last twenty-three years in a state hospital on Long Island. By the time of his death in 1970, he had slipped into obscurity. After his death, his entire life's work was almost disposed of to save storage fees, but it was rescued by friends at the last moment.
November 10, 2025 at 5:08 PM
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mdstamper.bsky.social
Julie Manet et sa levrette Laërte (Julie Manet and her Greyhound Laertes) by Berthe Morisot (French) – Oil on canvas / 1893 – Musée Marmottan Monet (Paris, France) #WomenInArt #art #artText #artwork #BertheMorisot #Morisot #Impressionism #MuséeMarmottanMonet #DogsInArt #WomenArtists #WomensArt #arte
Julie, about 14, sits diagonally on a rose-toned sofa in an elegant Parisian salon, her long auburn hair loose over the dark sheen of a fitted black silk dress with full sleeves and narrow waist. Her pale hands gather in her lap as she leans slightly forward, gaze unfocused and inward. At her feet stands Laërte, a slim greyhound with a fine collar, muzzle lifted toward her for a touch. To the left, a pale blue Louis XVI chair and softly sketched Japanese prints and paintings dissolve into Morisot’s fluid strokes, the cream walls and quick lilac and green notes making the figures luminous against an airy, unfinished backdrop. Painted in 1893, months after the death of Julie’s father, Eugène Manet, this double portrait of girl and dog layers affection and grief. Julie’s black dress marks mourning, yet its severity is softened by Berthe Morisot’s vibrating color and light; she is cradled by a cultivated interior filled with art and Japan-inspired prints, visual shorthand for the family’s cosmopolitan circle. Laërte was a gift from Stéphane Mallarmé, who would become Julie’s guardian after Morisot’s death and embodies vigilance and solace, anchoring her in loyalty as she hovers between childhood and adulthood. Empty spaces like the unused chair and blurred wall read as absences, making the work a quiet elegy for a family already half-lost. This canvas belongs to Morisot’s final, daring period, when illness, personal loss, and absolute commitment to her art sharpened her touch into bolder contrasts and sweeping, seemingly unfinished marks. A founding Impressionist and the only woman to exhibit in most of the group’s shows, Morisot spent her career centering women and children with radical intimacy. Here she paints her only daughter with a new psychological depth: Julie as heir to an Impressionist dynasty and circle that includes Monet and Mallarmé. The painting stands as a testament to the fragile, enduring bond between mother, daughter, and their artistic world.
November 8, 2025 at 8:52 PM
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singaravelou.bsky.social
"Elizabeth Lawrence was lynched in Birmingham, Alabama, in 1933 for reprimanding white children who threw rocks at her"
...
Today, a moving and enlightening visit to the National Memorial for Peace and Justice and the Legacy Museum in Montgomery, Alabama.
March 31, 2025 at 2:38 PM
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lunazuna.bsky.social
Born on this day: Loïs Mailou Jones (3 November 1905 – 9 June 1998) was a ground breaking American artist, painter and educator.
Self Portrait, 1940, casein on board, Smithsonian American Art Museum, Bequest of the artist, 2006.24.2
#AmericanArt #FemaleArtist #SelfPortrait
November 3, 2025 at 2:30 PM
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jessemlocker.bsky.social
Morris Kantor, Captain’s House, 1929, oil on canvas, 1929, 26 1/8 x 30 in. (66.2 x 76.2 cm) (Smithsonian American Art Museum)
A man in 19th-century costume reads in a rocking chair in a cozy interior. Boundaries picture window behind him seems to dissolve into a New England maritime landscape with a view of the water and a lighthouse, as does the painting of an old ship above the fireplace, in which water and sky seem to spill beyond the frame
November 3, 2025 at 5:03 PM
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lronlacy.bsky.social
#DECEMBER
‘December Trees’
Grant Arnold (1904-1988). Lithograph.
W.P.A. Federal Art Project. Smithsonian American Art Museum. 1935.
👉ALT
#WorksProgressAdministration #WPA #FederalArtproject #AmericanArt #lithograph #GrantArnold
‘There seems to be very little information about Arnold on the Internet, or in newspaper archives, but a 1936 article noted that he had considerable attention in the art world for his lithography skills: He avoids the slipshod liberty sometimes taken in modern graphic art. The result is a presentation of scene familiar to today's beholder. Through his craftsman-like treatment he is able to convey his sensory reaction [with] compositional clarity. The article also reports that he taught an art class in Woodstock, New York, attended by students from all parts of the country, and as a true craftsman he follows the entire lithographing process, making his own sketch, drawing it on the stone and doing the actual printing on his hand press ("Grant Arnold Shows Lithographs at Little Art Shop, Woodstock," The Kingston Daily Freeman (Kingston, New York), July 10, 1936).’ https://nddaily.blogspot.com/2017/
December 1, 2025 at 1:59 PM
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livingnewdeal.bsky.social
A farm scene oil painting, by Mary Winslow, created while she was in the WPA's Federal Art Project, 1936. Image from the Smithsonian American Art Museum.

#art #artists #painting #farming #history #landscape
A painting by Mary Winslow, WPA, 1936. Image from the Smithsonian American Art Museum.
December 6, 2025 at 6:09 PM
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lronlacy.bsky.social
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Chicago Interior’
J. Theodore Johnson (1902-1963). Oil on canvas. Smithsonian American Art Museum (from the U.S. Department of Labor). 1934.
👉ALT
#JTheodoreJohnson #PWAP #AmericanArt #TheNewDeal #GreatDepression
‘The warmth from the radiator is almost palpable ..., contrasting with the snowy city seen through the window. The distinctive blue-tiled tower of the American Furniture Mart identifies the setting as Chicago, where ... Johnson & his wife ... came to attend an exhibition of the artist’s work shortly after they had wed in New York in December 1931. The artist lovingly portrayed his beautiful young wife reading in their hotel room. The warm browns, yellows, & oranges raise the visual temperature, heightened further by hot touches of red in the drapery & in Mrs. Johnson’s lips, cheeks, magazine, & chair. A heavy fur coat laid to dry by the radiator shows that Mrs. Johnson has recently come in to escape the frigid winds from Lake Michigan. ... In 1937 & 1939 Johnson returned to Chicago to fulfill commissions from the Treasury Section of Fine Arts for historical murals in the Morgan Park & Oak Park Post Offices.’ https://www.flickr.com/photos/americanartmuseum/3313966973/in/pool-1934/
February 20, 2025 at 2:20 PM
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maineantiquedigest.bsky.social
Philadelphia silk on linen embroidery, c 1765, purportedly wrought by Mary Ann Whitebread, 12¼" x 8¾", sold for $32,500 (e $3000/4000) at Pook & Pook. A 1948 note on the reverse discusses the history of Whitebread and her needlework www.maineantiquedigest.com/stories/thur... #folkart #antiques #art
December 11, 2025 at 12:27 PM
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mmcarthur.bsky.social
Josef Sudek (Czechoslovakian, 1896–1976) :
Prague at Night, 1958

Photograph, gelatin silver print
10.2 x 6.4 cm | 4 x 2.5 in

Museum of Fine Arts Boston
December 5, 2025 at 1:02 PM
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floatingworlds.bsky.social
#TanakaRyohei (1933-2019)
Crow and Persimmon in the Snow. His works are in several collections, including those of the Museum of Fine Arts, Boston, the Metropolitan Museum of Art, the Cleveland Museum of Art. and the National Museum of Singapore.
#Japanese #woodblock
November 5, 2023 at 4:31 PM
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mdstamper.bsky.social
“Peasant Woman Raking” by Jean François Millet (French) - Oil on panel / c. 1855-1860 - Mead Art Museum (Amherst, Massachusetts) #womeninart #artwork #oilpainting #art #JeanFrançoisMillet #Millet #AmherstCollege #womensart #MeadArtMuseum #FrenchArt #fineart #FrenchArtist #WomanWorking #artoftheday
Renowned French peasant painter Jean François Millet painted "Peasant Woman Raking" in about 1860, after earning notoriety in 1850 with his "Sower" (Museum of Fine Arts, Boston) and in 1857 with his "Gleaners" (Musée d’Orsay, Paris), which conservative viewers interpreted as a critique of the Second Empire’s prosperity. "Peasant Woman Raking" is the second small painting Millet executed after one of ten rustic figures he published in 1853 in the Parisian journal "L’Illustration" (the related variant of which is in the Metropolitan Museum of Art, New York). Millet’s notoriety brought few financial rewards, and over the decade following his move to the village of Barbizon in 1849, he made his living by selling small pictures such as this one. These show women and men engaged in outdoor labor and domestic chores and constitute a celebration of the new “common man.” Vincent Van Gogh made several paintings after Millet’s 1853 works (including Peasant Woman Raking), one indication of the enduring strength of the Millet’s conception of the dignity of peasant life. His painting depicts a young woman with tan skin in a field, gathering hay with a wooden rake. She is dressed in a simple light-colored long-sleeved top with blue sleeve covers, a long light-tan skirt, and an off-red head covering. She is focused and engaged, appearing to be mid-action, calmly bending and diligently working with the rake. The rural meadow setting on a clear day with rolling hills and a far-off village is serene and reflective, highlighting the woman's labor and the quiet beauty of the natural world.
April 3, 2025 at 2:12 PM
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thezenoftrueart.bsky.social
William Merritt Chase, "Azaleas, Vase of Flowers," oil on canvas, c.1882; photo: Debra Force Fine Art. #flowers #stilllife #art #artist #artgallery #gallery #museum #artmuseum
November 6, 2025 at 9:35 PM
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mdstamper.bsky.social
“Self Portrait” by Mary Adshead (British) - Oil on canvas / 1931 - Graves Gallery, Sheffield Museums (Sheffield, England) #WomenInArt #art #artText #artwork #MaryAdshead #Adshead #SheffieldMuseums #GravesGallery #selfportrait #WomanArtist #WomensArt #WomenArtists #BritishArtist #BlueskyArt #1930sArt
A female artist sits close to us in a cramped studio, body turned toward an unseen canvas while her face swivels directly to meet our gaze. She is a light-skinned woman in her late twenties, with dark hair tucked under a white woven hat banded in glossy black. A slim red cord necklace circles her neck above a ruffled white blouse and spotted grey dress, wrapped in a black coat trimmed with a sharp white fur collar. One hand steadies the edge of the easel, the other holds a fine brush mid-stroke, poised between decisions. Behind her, a red mural study glows on the wall, echoed by a red curtain on the right that presses in on the scene. A wooden chair, paintbox, books, and a metal canister cluster at her side, quiet evidence of sustained work. Smooth light, crisp edges and her unblinking dark eyes convey a composed, unsentimental self-scrutiny. Painted in 1931, the year of her first child, this self-portrait shows Mary Adshead claiming space as a modern professional artist at a moment when family life and public commissions were pulling equally on her time. Trained at London’s Slade School under Henry Tonks, Adshead had already made her name with ambitious murals, from a boys’ club in Wapping and “A Tropical Fantasy” island to satirical racing scenes for Lord Beaverbrook and panels for the British Empire Exhibition. Here, the theatricality of those schemes is pared back with a stylish hat and fur collar signaling metropolitan confidence, yet the tight framing forces us to confront the alert, slightly guarded woman who controls how she is seen. Adshead would go on to design posters and stamps, create wartime murals for canteens and British Restaurants, and champion women’s work through groups such as the Women’s International Art Club. Now in the Graves Gallery collection in Sheffield and included in later retrospectives of her art, this self portrait painting helps restore Adshead as a key figure in interwar British mural and portrait painting.
December 2, 2025 at 3:14 PM
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cathyrd.bsky.social
www.history.com/articles/how...
How the Hitler Youth Turned a Generation of Kids Into Nazis | HISTORY
Hitler’s war against Boy Scouts fueled the Third Reich’s ideology—and its military might.
www.history.com
December 9, 2025 at 5:08 AM
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momaphotographs.bsky.social
Serving the students' dinner http://www.moma.org/collection/works/57143
Gift of Lincoln Kirstein
December 8, 2025 at 1:23 PM
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miadecorativearts.bsky.social
"Modern America" pitcher https://collections.artsmia.org/art/40447/
Sterling silver with gilt interior and Bakelite handle Danish-born Erik Magnussen closed his Copenhagen workshop in 1925 to join the Gorham Manufacturing Company in Providence, Rhode Island, spearheading efforts to develop modern alternatives to their repertoire of period-revival wares. Taking inspiration from Constructivism, Cubism, and the skyscraper, Magnussen created a range of elegant modernist silverware for Gorham in their attempt to compete with European manufacturers. Of the modernists, it was Erik Magnussen who boldly combined simplified form in silver with new synthetic plastic materials such as bakelite, a revolutionary breakthrough at the time. Magnussen was one of the first to successfully balance curvilinear and geometric elements as he has in this fine pitcher, one of a series in a line called Modern America, the first examples of which were crafted by Magnussen himself. The combination of elegance and modernism was meant to appeal to discerning American consumers new to the style.
November 21, 2025 at 9:35 AM
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natmus-sweden.bsky.social
San Pietro in Vincoli, Rom http://collection.nationalmuseum.se/eMuseumPlus?service=ExternalInterface&module=collection&objectId=157876&viewType=detailView
New acquisition, June 2014: View of San Pietro in Vincoli in Rome by Constantin Hansen Nationalmuseum has expanded its fine art collection with the acquisition of a view of Rome with the church of San Pietro in Vincoli in the foreground, painted in 1836 by the Danish artist Constantin Hansen (1804-1880). The oil sketch represents a type of painting that became common in the first half of the 19th century, when artists from northern Europe visited Rome in large numbers. They stayed for several years, developing their artistic sense and technical skill. A key part of their education involved immortalizing views like this in deftly executed oil sketches. Although many of the motifs were well known to the tourists of the time, the artists were equally likely to choose an insignificant view. Their primary goal was to practise depicting light and atmosphere as realistically as possible. The resulting works were therefore not specifically intended for sale or even for public display. In these works, the artists did not need to adhere to convention, but could allow themselves to be subjective in their portrayal. The motifs are often somewhat insignificant, with a perspective that does not immediately focus on what is expected. Instead, the motifs seem to be based on a personal fascination. In recent decades, oil sketches featuring Italian motifs have been increasingly sought after by museums and private collectors alike. A magical sense of calm hangs over Hansen’s view of the church of San Pietro in Vincoli, largely because the foreground is completely dominated by a quiet, deserted square. One possible explanation is that the artist associated the setting with personal experiences, rather than wishing to document the view as such. From the foreground, the viewer’s eye is directed down a steep street, between a walled garden at left and the church at right, to gaze out over the distant roofs of Rome through a bluish haze. It is easy to imagine how, from the spot where he was painting, the artist would have felt drawn first to the mysterious garden behind the walls, then to the cool, dark interior of the church, and finally to the city beyond, with its infinite number of alleyways teeming with life. For artists such as Constantin Hansen, sketches like this became treasured souvenirs, which they often kept for the rest of their life. It is conceivable that these paintings are considered so desirable today because of their fresh, realistic depictions. The intervening years are quickly blotted out, and contemporary viewers can easily share the artist’s experience of and fascination with this Roman scene. The donor, Mrs Ulla-Bella Sandberg (1926–2013), was a long-time member of the Friends of Nationalmuseum and bequeathed her entire estate to the museum. Combined with a generous donation from director Gunnar Hultmark, this bequest enabled the purchase of Constantin Hansen’s exquisite view of Rome. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft.
March 13, 2025 at 10:41 AM