iiinova — where your digital self keeps evolving

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Bart Gazzola @bartgazzola381.bsky.social · 29/05/2025

[Untitled] (House), 2000, Luiz Guimaraes Monforte

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womensartbluesky.bsky.social @womensartbluesky.bsky.social · 29/05/2025

Chilean artist Livia Marin, teapot from the ´Nomad Patterns´ series (2012) #womensart

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Lee Zimmerman @zim2918.bsky.social · 29/05/2025

The Musician

This work © 2025 by Lee Zimmerman is licensed under Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International

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Dee Lilley🔻 @deelilley.bsky.social · 30/05/2025

Untitled, Richard Diebenkorn 1950

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Michael @mdstamper.bsky.social · 30/05/2025

Untitled (Self-Portrait) by Amrita Sher-Gil (Hungarian-Indian) - Oil on canvas / 1931 #WomenInArt #WomanArtist #FemaleArtist #womensart #ArtText #portraitofawoman #SelfPortrait #art #oilpainting #WomenArtists #AmritaSher-Gil #Sher-Gil #AmritaSherGil #IndianArtist #IndianArt #1930s #FemalePainter

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Dr. Sabine Metzger 🦇 @drsabinemetzger.bsky.social · 30/05/2025

#AydinYasalar #Contemporary #Philippines Aydin Yasalar EVE, 2015 Oil on canvas

https://www.saatchiart.com/en-de/art/Painting-Eve/740054/12087983/view

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Michael @mdstamper.bsky.social · 29/05/2025

Self-Portrait by Suzanne Valadon (French) - Oil on canvas / 1898 - Museum of Fine Arts, Houston (Texas) #WomenInArt #ArtText #WomanArtist #FemaleArtist #MFAH #art #SuzanneValadon #Valadon #FrenchArtist #womensart #portraitofawoman #selfportrait #WomenArtists #OilPainting #MuseumofFineArtsHouston

Born Marie-Clémentine in 1865, Valadon grew up doing odd jobs in Montmartre from the age of 10, becoming a model at 15 following an accident as a circus performer. She would change her name to Suzanne at the suggestion of her sometimes boyfriend Henri de Toulouse-Lautrec, who likened her to the Biblical narrative of "Susanna and the Elders" who was also a young, beautiful woman gazed upon by older males — in Valadon's case: artists.

Today, Valadon remains known as the smiling dancer in Pierre-Auguste Renoir’s “Dance at Bougival” (1883), as well as paintings and drawings by modernist titans like Toulouse-Lautrec and Pierre Puvis de Chavannes.

But Valadon’s life story is distinct from other models: she was also celebrated as an artist in her lifetime. Only after her death did her fame begin to wane, eclipsed by her son artist Maurice Utrillo’s; however, in recent years, Valadon has been recognized more as artist than as model.

As artists were ogling her, she also gazed at herself, a penchant that remained throughout her life. Her earliest known work, from 1883, is a self-portrait. She lived a wildly Bohemian life in the 1880s and early 1890s, but seeking stability, in 1896, Valadon married businessman Paul Mousis, just two years before this "Self-Portrait" at the Museum of Fine Arts in Houston was completed.

The artist depicts herself in a direct and confident pose, reflecting her rebellious and self-assured spirit. It is a study in contrasts, showcasing her raw, almost defiant expression through bold strokes, while simultaneously exuding a sense of composure and beauty. The painting is characterized by its direct gaze, suggesting a deliberate engagement with us. The background is intentionally left simple, drawing attention to her face and powerful presence. This self-portrait allows Valadon to express her strong personality and independent spirit, defying "traditional" portraits of women at the time.

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the Asylum Art @yvesbroeckx.bsky.social · 29/05/2025

I C R I M S O N W H I S P E R I a bloom of emotion, captured in a breath of color. This impressionistic floral study evokes both fragility and vitality. - The Asylum Art - Art and words by Yves #Art #Impressionism #FlowerPainting #AbstractNature #Pastel #abstract #blueskyart #complexcptsd

“Crimson Whisper” is an impressionistic pastel painting on paper, inspired by abstract florals. A vibrant burst of red and magenta hues forms the dense, textural blossom of a single flower, rising from a slender green stem. The petals bleed outward with energetic, feathery strokes, suggesting movement and organic spontaneity. The warm, creamy background with scattered hints of pinks, yellows, and greens supports the composition without distraction. It is both raw and gentle—a fleeting moment of beauty blooming on paper.

Art copyright ©Yves Broeckx

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Dee Lilley🔻 @deelilley.bsky.social · 29/05/2025

Ocean Park #70, Richard Diebenkorn 1974

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hobothumb @hobothumb.bsky.social · 29/05/2025

rush... oils & acrylic mixed media on paper, collaged, 36x48", with digital drawing on top...

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Dee Lilley🔻 @deelilley.bsky.social · 30/05/2025

Untitled (Albuquerque), Richard Diebenkorn 1951

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Michalis Kaloumenos @mkaloumenos.bsky.social · 07/05/2025

Daily Piece of Art 🎨 Constancia Nery 🇧🇷 (b. 1936) 🖼️ Emboidering the Remnants (2013) - oil on canvas #art

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artnau @artnau.bsky.social · 07/05/2025

Crowded Table, 1966 by Fairfield Porter

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craig robertson @craiglee47.bsky.social · 07/05/2025

"they move underwater" 8" x 10" egg tempera on panel

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PubHist @pubhist.bsky.social · 07/05/2025

Claude Monet Gorge of the Petite Creuse 1889 65 x 92 cm Oil on canvas Signed and dated lower left: Claude Monet 89 Museum of Fine Arts, Boston Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball

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Helen Day @lbflyawayhome.bsky.social · 07/05/2025

The restaurant car, 1972. (with one of those ‘career girls’) ‘On the Railway’ Artist: John Berry

In a very smart 1970s railway carriage, a livered waiter bows deferentially as he serves coffee to the businessmen in suits.
At the front is a woman in a lime green suit, adding sugar to her coffee

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Michael @mdstamper.bsky.social · 07/05/2025

“The Fair Student” by Daniel Huntington (American) - Oil on canvas / 1858 - National Academy of Design (New York) #womeninart #art #artwork #oilpainting #womensart #portraitofawoman #student #DanielHuntington #Huntington #NationalAcademyofDesign #NAD #fineart #HudsonRiverSchool #study #AmericanArt

Daniel Huntington’s “The Fair Student” (1858) captures a serene and idealized moment of intellectual engagement. It was created while Huntington was visiting London, and the figure's dress, the decorative objects in the room, and the Baroque style of the portrait on the wall collectively suggest that he intended it to be viewed as a period piece.

Huntington depicts a richly-appointed interior scene with light gently illuminating her figure and the pages before her. The young woman is seated at a table, her attention directed to a large book resting on the table in front of her. She wears a historical costume featuring an off-the- shoulder black dress with wide sleeves adorned with lace cuffs, a beaded necklace, and a lace cap. Hanging on the wall in the background is a painting depicting a man wearing a wide-brimmed hat and a white ruff around the neck --which was a work Huntington was to paint in 1887 titled, "The Burgomeister of New Amsterdam."

His attention to detail, from the texture of the fabrics to the soft expression on the student’s face, emphasizes a romantic view of learning, virtue, and feminine grace. “The Fair Student” can be read as a reflection of the period’s growing emphasis on female education, alongside lingering notions of women’s association with domestic and moral spaces. Huntington’s sensitive rendering of the subject invites us to appreciate not just her beauty, but also her intelligence and quiet dignity. He subtly advocates for the value of personal growth and scholarly pursuit, particularly for women, in an era of social transformation.

Huntington was a prominent American painter closely associated with the Hudson River School and known for his refined portraits and historical subjects. Less famous than some of his contemporaries, Huntington’s contributions helped shape the direction of American painting, bridging the ideals of the early 19th century with the realism and professionalism that would dominate the Gilded Age.

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womensartbluesky.bsky.social @womensartbluesky.bsky.social · 07/05/2025

'Treasure Found', a mini art quilt by Nancy Messier, known for pictorial textile art #WomensArt

Quilt art with image of a black bird like a crow facing left with head down on yellow striped ground picking up a small silver key

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John McCafferty @jdmccafferty.bsky.social · 07/05/2025

Matthew, John, Mark and Luke from a book cover made for the Abbey of Saint Foy at Conques, c. 1100 (Met Museum)

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womensartbluesky.bsky.social @womensartbluesky.bsky.social · 07/05/2025

The Flag,1918 by Georgia O Keeffe #WomensArt

Painting of a red flag on a pole at an angle as if being waved, against a dark blue sky

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Michael @mdstamper.bsky.social · 01/05/2025

Autoportrait au chapeau (Self-portrait with green Hat) by Jane Atché (French) - Oil on canvas / 1909 - Musée du Pays Rabastinois (Rabastens, France) #womeninart #art #artwork #womanartist #womensart #femaleartist #portraitofawoman #JaneAtché #JaneAtche #Atché #MuséeduPaysRabastinois #BelleÉpoque

Jeanne Louise Marie Euphrasie Atché, known as Jane, was a French painter and poster artist in the Art Nouveau style.

Her family was originally from Rabastens and her father was an infantry captain. Around 1890, she went to Paris to study at the Académie Julian with Jean-Paul Laurens and Marcel Baschet. She also was influenced by Jean-Joseph Benjamin-Constant. Around this time, she anglicized her first name to "Jane.”

She made her art debut in 1895 at the Salon, displaying a pastel titled “Girl with Violets.” The following year, she created her first poster for JOB cigarette papers, which was a great success. Not long after, she came met Alphonse Mucha at the "Poster Exhibition of French and Foreign Art" and adopted some of his stylistic techniques. For many years, she was the only woman among the numerous French poster artists.

From 1897 to 1911, she was a regular exhibitor at all the salons and galleries. Around 1900, she increasingly turned to works of a religious nature and her art style moved from Art Nouveau towards Symbolism. Her "Fiat Voluntas Tua" (Thy Will be Done) received special mention at the Salon of 1902. From 1901 to 1905, she illustrated for La Poupée Modèle, a monthly magazine for girls.

Her sister, Louise, died in 1905 and her father followed in 1907. Shortly before her sister's death, she married Raymond Leroux, who was five years her junior. After missing the 1905, 1906, and 1907 Salons, she presented a self-portrait "On the Wings of Dreams" at the 1908 Salon. This work was presented under the name of Atché-Leroux which is how she signed this self portrait from 1909.

Her husband was conscripted for World War I and was killed in 1918, in the Second Battle of the Marne. In 1920, she married couturier Arsène Bonnaire, an old family acquaintance who had also recently lost his spouse. In 1923, they retired to Rabastens.

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John McCafferty @jdmccafferty.bsky.social · 30/04/2025

Automated Gondola Made in Augsburg, c. 1600. On wheels, it has a radius of about 1 metre. (Schloss Ambras Innsbruck)

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Dee Lilley🔻 @deelilley.bsky.social · 30/04/2025

Les Distractions de Dagobert, Leonora Carrington 1945

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Bart Gazzola @bartgazzola381.bsky.social · 30/04/2025

A Northern Silver Mine, 1930, Franklin Carmichael

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Simon T. @sitobin.bsky.social · 30/04/2025

Spring tree. Santa Cruz, Ca.

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Richard Morris @ahistoryinart.bsky.social · 30/04/2025

'Nocturne in Grey and Gold.' (1872) Colour was central to Whistler’s paintings, as demonstrated in the title he chose for this work. The blacks and greys of night are contrasted with gold - the gaslights that illuminated the streets of Chelsea in London on the bank of the Thames

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hobothumb @hobothumb.bsky.social · 01/05/2025

sunflowers acrylic mixed media on watercolor paper, 48x42", with digital doodling)

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hobothumb @hobothumb.bsky.social · 22/04/2025

the chair, the truck, the air-conditioning, the pet... acrylic mixed media on watercolor paper with digital "painting" 24x30"

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Dr. Peter Paul Rubens @peterpaulrubens.bsky.social · 23/04/2025

Ruins of Fountains Abbey, Yorkshire, 1815. Who knew that J.M.W. Turner had this fascination with church architecture? He was born OTD in 1775.

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Michael @mdstamper.bsky.social · 23/04/2025

Portrait of a Sri Lankan Woman by Tudor Rajapakse (Sri Lankan) - Oil on canvas / 1935 - Fukuoka Asian Art Museum (Japan) #womeninart #art #oilpainting #SriLankan #artwork #womensart #portraitofawoman #福岡アジア美術館 #TudorRajapakse #Rajapakse #beauty #SriLankanArt #artoftheday #FukuokaAsianArtMuseum

Sri Lankan artist Tudor Rajapakse was born when the nation was often called Ceylon during the British colonial era. Although he did not receive any formal art education, he was known as a talented amateur portrait painter. He repeatedly exhibited his works in the exhibitions of Ceylon Society of Arts founded in 1891 with British support and which he later became chairman.

This wonderful painting conveys the academic trend of Sri Lankan art before the rise of the "43 Group" art association established in August 1943 in Colombo, Sri Lanka (still British Ceylon at the time) of like-minded artists who broke away from the Ceylon Society of Arts to localize previous European modernist trends into a distinctively Sri Lankan modernist art.

Rajapakse accurately depicts the appearance of the young unidentified beautiful South Asian model wearing a white, short-sleeved choli (type of blouse) with a plunging neckline and exposed midriff. At the waist, she wears a vibrant red saree with a large off-white flower (daisy-like) pattern draped around her lower body. She also wears multiple white, red, and pink bangles on the wrist of her left hand confidently on her hip. Her beautiful dark skin tone, lighting from the left of the canvas, and black hair pulled back all draw our attention to her sharply defined features against a dark, muted reddish-brown background.

Another work by Rajapakse depicts the same model wearing a different outfit is the captivating "Green Saree" painting in the permanent collection of the National Art Gallery Colombo (NAG).

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Bart Gazzola @bartgazzola381.bsky.social · 23/04/2025

What Will I Say to the Sky and the Earth II, 2019, Meryl McMaster

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Linda @lindabythesea.bsky.social · 23/04/2025

Enchantement n°7 (full moon), 2024, by Marta Grassi. Graphite and acrylic painting on cotton canvas.

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Patri O’Connor @patrioconnor.bsky.social · 23/04/2025

Something about water and the patterns it leaves behind is so mesmerizing. #lowtide #alkibeach #westseattle #art #painting @bsky.art

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Dr. Peter Paul Rubens @peterpaulrubens.bsky.social · 23/04/2025

Born (so he said) on this day in 1775, in London, Joseph Mallord William Turner. Here, self-portrait in 1799.

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Dr. Sabine Metzger 🦇 @drsabinemetzger.bsky.social · 23/04/2025

#SabinaSinko #Contemporary #Slovenia Sabina Sinko PORTRAIT WXVI, 2020 Acrylic on canvas

https://www.saatchiart.com/en-de/art/Painting-Portrait-WXVI/392678/8059826/view

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Dr. Peter Paul Rubens @peterpaulrubens.bsky.social · 23/04/2025

The thrill of catastrophe: flames materialize on canvas as J.M.W. Turner (born OTD 1775) depicts the burning of the Houses of Parliament ,1834.

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Michael @mdstamper.bsky.social · 23/04/2025

Portret kobiety na tle jarzębiny (Portrait of a Woman with Rowanberry) by Jacek Malczewski (Polish) - Oil on cardboard / 1917 - National Museum in Warsaw (Poland) #womeninart #art #oilpainting #JacekMalczewski #Malczewski #YoungPoland #NationalMuseuminWarsaw #MNW #MuzeumNarodowewWarszawie #womensart

Polish symbolist artist Jacek Malczewski depicts a beautiful woman in a white dress outdoors amidst a vibrant landscape of rowan trees and orange-red rowan berries, evoking a mood of introspective contemplation.

She possesses wavy dark hair styled simply, pulled back from her face, revealing her delicate facial features. Her expression is one of quiet playful melancholy with her eyes downcast and her hands are gently touching her neck. She wears a translucent, light-colored, almost white dress that appears to be made of a flowing fabric that drapes loosely around her form. Malczewski’s brushstrokes suggest texture and movement in the fabric. Her skin tone is rendered with soft, pale hues, emphasizing a kind of ethereal quality.

The soft light, the colors, and the overall style create a peaceful, almost dreamlike mood. The contrast between the warm orange-red of the berries and the cool tones of the background adds a sense of subtle tension within the serene setting both romantic and introspective.

Malczewski (ˈjat͡sɛk malˈt͡ʂɛfskʲi) was one of the central figures of the patriotic Young Poland (Młoda Polska) modernist movement in Polish visual arts, literature and music from roughly 1890-1918. His works combined the dominant style of his time with historical motifs of Polish martyrdom, the romantic aspiration for national independence, Christian and Greek mythology, folk tales, and his love of the natural world. He was also the father of painter Rafał Malczewski.

Many believe the model for this painting was the artist’s lifelong muse, Maria Bal (Jadwiga Maria Kinga Bal), who was a Polish baroness and frequently his live model for a series of symbolic portrayals of women, as well as nude studies and mythological beings. Their affair began around the time her 1st marriage ended in 1904 until World War I, even though Malczewski was 25 years her senior and married as well. Long after their breakup, the two regularly communicated and remained friends.

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Ulrica Hume @uhume.bsky.social · 23/04/2025

And did you get what you wanted from this life, even so? I did. And what did you want? To call myself beloved, to feel myself beloved on the earth. ~Raymond Carver [The First Day of the Creation, by M.C. Escher]

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Daniel Lieberman @damfino11.bsky.social · 23/04/2025

#ImaginaryMuseum Joseph Mallord William Turner, English painter, April 23, 1775–December 19, 1851 Saltash with the Water Ferry, Cornwall, 1811 Oil on canvas, 35.3 in x 47.5 in Metropolitan Museum of Art, New York

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Thalia Smog @thaliasmog.bsky.social · 23/04/2025

Andy Kehoe Invoking the Heart of the Wild

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John McCafferty @jdmccafferty.bsky.social · 23/04/2025

The Throne of Grace, 1510 - 1515. Colijn de Coter (Musée du Louvre)

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Daniel Lieberman @damfino11.bsky.social · 23/04/2025

#ImaginaryMuseum Joseph Mallord William Turner, English painter, April 23, 1775–December 19, 1851 Calais Pier, 1803 Oil on canvas, 67.7 in x 94.4 in National Gallery, London

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Michael @mdstamper.bsky.social · 23/04/2025

“The Dreamer” by Helen Maria Turner (American) - Oil on canvas / 1919 - Ogden Museum of Southern Art (New Orleans, Louisiana) #womeninart #art #womanartist #oilpainting #femaleartist #artwork #HelenMariaTurner #AmericanArtist #dreamer #impressionism #AmericanArt #beauty #OgdenMuseumofSouthernArt

American artist Helen Maria Turner’s “The Dreamer” was painted in 1919 and exhibited at Frank K.M. Rehn Gallery the following year. The composition depicts a central figure in a white dress, a young woman with dark, curled hair and alabaster skin tone, juxtaposed with a deep background of Prussian and ultramarine blues. To the left of the figure rests a peacock feather fan and to the right a vase of white roses.

Turner utilizes conventional impressionist brushwork throughout The Dreamer, consisting of fleeting, loose brush strokes meant to capture the effects of light and color. Turner’s striking composition draws the viewer’s eye to another focal point, a loose blue ribbon tied to the neckline of the dress. In addition to her use of color and contrast, Turner’s careful handling of the young woman’s cryptic, melancholic expression displays her skillful ability to create mood.

After the 1920 exhibition of this painting, Frank Rehn wrote the following praises to Turner, “New York is looking at you with envious eyes and making up its mind to grab the next fine thing of yours it gets a chance at …you have arrived.”

Turner was born on Nov 13, 1858. Her mother, born Helen Maria Davidson, was from a prominent family in New Orleans and her father, Mortimer Turner, was a wealthy coal merchant from Alexandria, Louisiana. By 1871, Turner was orphaned at age 13, as her mother succumbed to illness and her father passed away a few years later. Turner and her siblings went to live with her widowed uncle, during which time her late father’s commercial enterprise quickly deteriorated.

Helen Maria Turner began painting at age 22, and although she was initially self-taught, she quickly became involved with the newly created Southern Art Union, later reorganized as the New Orleans Artist’s Association.

In 1921, Turner was notably the third woman elected to full Academician status by the National Academy, following Cecilia Beaux and Lydia Field Emmet.

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