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mdstamper.bsky.social
"Under a Palm Tree" by Winslow Homer (American) - Watercolor on wove paper / 1886 - National Gallery of Art (Washington, DC) #WomenInArt #WinslowHomer #Homer #NationalGalleryofArt #Watercolor #AmericanArt #AmericanArtist #bahamianArt #WomenInPortraiture #art #artText #BlueskyArt #PortraitofaWoman
A woman stands at ease beside the trunk of a slender palm, her body mostly front-facing while her head turns to the left, away from us. She has a light brown skin tone, deep-set eyes, and long dark hair partly covered by a patterned, plaid patchwork shawl that wraps around her shoulders and head. One arm folds across her chest as the other hangs softly down. Her clothing is practical and layered including a red-and-white blouse, a brown apron over a long white skirt, and gray shoes with small red accents. The setting is lush and humid with dense green leaves and shrubs punctuated by a few red blossoms. The ground is sandy and light while the sky behind the foliage is washed to an off-white glow. The watercolor handling keeps edges airy and breathable, with the woman’s calm presence held against the living, textured greens. Painted in Key West in January 1886, this work has also circulated under titles that frame the sitter as “A Key West Native” and “Florida Landscape and Figure.” That naming matters because it points to how often women are made “types” rather than fully named individuals. Yet American artist Winslow Homer’s composure here resists spectacle. The woman’s turned gaze suggests she is not posed for our permission as she appears mid-thought, self-contained, and unhurried. The palm becomes both shelter and vertical boundary like an everyday landmark that quietly centers her, giving the scene a sense of heat, shade, and stillness. By early 1886, Homer was deep into his mature period. He was based in Prouts Neck, Maine, but traveled south in winter to work in watercolor and recharge his palette with subtropical light. Florida/Caribbean excursions in the mid-1880s helped push his watercolors beyond “sketch” status into major finished works that are bold, economical, and structurally confident while also broadening his subject matter to include Black and Caribbean life, even as viewers then and now debate the social and colonial implications of that gaze.
February 19, 2026 at 12:37 AM
mariafoxwriter.bsky.social
Her work and that of the quilters’ (as well as that of other artists represented in the Personal to Political exhibit) reflect on the past both as memory embodied in material.
#SarasotaArtMuseum #GeesBendQuilts #GeesBendQuilters #LillianBlades #AfricanAmericanArt #BahamianArt #GlassArt #Quilts 4/4
August 6, 2025 at 9:41 PM