'Kings of the Visigoths' by Alonso Cano (c. 1641)
#art #arts #artist #artists #artwork #painting #paintings #arthistory #history #museum #museums #artgallery #artgalleries #artmuseum #artmuseums #artnet
'Kings of the Visigoths' by Alonso Cano (c. 1641)
#art #arts #artist #artists #artwork #painting #paintings #arthistory #history #museum #museums #artgallery #artgalleries #artmuseum #artmuseums #artnet
8 Famous Black Painters Who Changed the Course of Art History.
Famous Black painters introduced new techniques, such as quilting or graffiti painting, into their art scenes.
https://www.thecollector.com/famous-black-painters-changed-art-history/ #globalmuseum #art #arthistory
Prostanthera Melissifolia from Volume 2, 1873-6, Educational collections of Australian plants
Botanical specimen mounted on paper with label "Prostanthera melissifolia / Order Labiatae / Locality Gellibrand River / Contributor C. Walter".
Ink, Paper, Plant material - non specific
Melbourne, Victoria, Australia
https://collectionsearch.nma.gov.au/s/hw/EMU.EMUIRN/112557
--
#Art #History #Museum #ArtHistory #Gallery #MastodonArt #MastoArt #Culture #Random #Australia
Prostanthera Melissifolia from Volume 2, 1873-6, Educational collections of Australian plants
Botanical specimen mounted on paper with label "Prostanthera melissifolia / Order Labiatae / Locality Gellibrand River / Contributor C. Walter".
Ink, Paper, Plant material - non specific
Melbourne, Victoria, Australia
https://collectionsearch.nma.gov.au/s/hw/EMU.EMUIRN/112557
--
#Art #History #Museum #ArtHistory #Gallery #MastodonArt #MastoArt #Culture #Random #Australia
“We whittled it down to seven themes so there would be juxtapositions and dialogue that ultimately would make our visitors think about winter in a different way.”
#Indigenous #art #winter #NGC @NatGalleryCan #CanadianArt, #MuseumLife, #ArtHistory #Ottawa #Ontario #Canada
“We whittled it down to seven themes so there would be juxtapositions and dialogue that ultimately would make our visitors think about winter in a different way.”
#Indigenous #art #winter #NGC @NatGalleryCan #CanadianArt, #MuseumLife, #ArtHistory #Ottawa #Ontario #Canada
Hi ! we are a #wiki / #library / #catalogue for arts and studies , here to spread the word about recent and historical publications and projects in #experimentalart #permacomputing #lowtech #climateaction #decoloniality #technofeminisms #capitalocene #criticaltheory #shadowlibraries #communityservers 
#communityradio 
#everydaytechnology #libreculture #floss 
#diwo #care #artistpublishing #soundart #experimentalfilm #arthistory #weird etc.. Thank you @lurk for hosting us on #mastodon and everyone in the #fediverse for believing in it and making it such a welcoming space 
#introduction 
The Nature of the Beast: Charles Le Brun's Human-Animal Hybrids (1806)
https://publicdomainreview.org/collection/le-brun-human-animal-hybrids/
#HackerNews #TheNatureOfTheBeast #CharlesLeBrun #HumanAnimalHybrids #ArtHistory #PublicDomainReview
'Girl with Peaches' by Valentin Serov (1887)
#art #arts #artist #artists #artlover #artlovers #artgallery #artgalleries #museum #museums #artmuseum #artmuseums #illustration #painting #paintings #arthistory #artnet
'Girl with Peaches' by Valentin Serov (1887)
#art #arts #artist #artists #artlover #artlovers #artgallery #artgalleries #museum #museums #artmuseum #artmuseums #illustration #painting #paintings #arthistory #artnet
My October art history theme is, very loosely, Halloween. So, some dark, some surreal, some scary, some lighthearted works, not necessarily specific to the holiday.
Today I present, by Spanish-Mexican woman artist Remedios Varo (1908-1963), La llamada (The Call), 1961, oil on Masonite, 42 x 31 in., © 2023 Remedios Varo/Artists Rights Society, National Museum of Women in the Arts. More in ALT. #arthistory #womanartist #womenartists #surrealism
From Christie’s auction house: “She moved to Paris in 1937 and due to her political ties was banned from returning to Spain following the Spanish Civil War. When World War II neared Paris in 1940, Varo was imprisoned with her partner Benjamin Péret because of his political activities. Upon their release they caught one of the last ships allowed to depart the country and fled to Mexico…
Despite Surrealism’s insistence on cultural liberation, it was largely an all male affair. The 1924 Surrealist manifesto excluded female artists, and women were often relegated to the role of 'artist's muse.' The work of Varo together with that of other artists of her generation like Leonora Carrington, Leonor Fini and Dorothea Tanning, represented a vital antidote to this male-dominated narrative.
Varo was not only a leading female artist of the Surrealist movement, but she frequently used her art to assert the collective power of women and femininity. Likewise, her paintings often represent women as the central protagonists fully in control of the environs they inhabit. She frequently incorporated motifs like ‘the cage’ and ‘the tower’ into her work, representing the urge to break free from patriarchal structures, and her use of feminine tropes like ‘the boudoir’ in her work was just as revolutionary in the male-dominated world of Surrealist painting.”
Your art history post for today: by Vincent Van Gogh (1853-1890), Women Carrying Sacks of Coal in the Snow, chalk, brush in ink, and opaque and transparent watercolor on wove paper, 12.5x19.6 inches (32x50 cm), Kröller-Müller Museum, Otterlo, Netherlands. #arthistory #painting #oilpainting #labor
Most people don’t know that before he became an artist, Vincent was a missionary to a coal mining region of Belgium. The story of his time there breaks my heart.
From Judith Moore, “Late nights with Van Gogh,” San Diego Reader, November 18th, 2004:
‘Van Gogh headed as a missionary to the Belgian mining district of Borinage.
What Van Gogh found in Borinage horrified him more than London’s slums. Sweetman: “There were sights to pierce the heart: stables 2000 feet underground where ponies broken with toil spent their wretched lives; worse still, children, girls as well as boys, some only eight years old, filthy and in rags, pulled sledges of coal through tunnels too small for the animals. And hanging over all this was the constant fear of accidents.”
Van Gogh responded by giving away his clothing, food, bed, and finally, he moved out of his comfortable room to live with the miners to whom he ministered. When Esther, Van Gogh’s former land-lady, asked him why he behaved as he did, literally handing out the shirts off his back to be torn into bandages, Van Gogh replied: “Esther, one should do like the good God; from time to time one should go and live His own.” His superiors disapproved Van Gogh’s charities; they chastised him for overzealousness and after six months as a missionary, then-26-year-old Van Gogh was fired.
What a terrible moment! The occasion of his firing feels heartbreaking to the reader. How must it have felt to Van Gogh, who had set such hopes on being permitted to bring the remedy of God’s love to the miners? Sweetman guesses: “He was utterly cast down...he had done everything for God and God had surely rejected him.”
… During the months before he was fired, Van Gogh had been sketching miners and their families. (“I should be happy if some day I could draw then,” he wrote, “so that these unknown types would be brought before the eyes of the people.”) After his dismissal Van Gogh stayed on in the Borinage. He acquired a primer that taught drawing — “clear black-and-white studies of faces,” writes Sweetman, “with anatomical outlines that the learner was encouraged to copy as faithfully as possible” — and gradually, laboriously, Van Gogh taught himself to draw and paint.’
Your art history post for today: by Vincent Van Gogh (1853-1890), Women Carrying Sacks of Coal in the Snow, chalk, brush in ink, and opaque and transparent watercolor on wove paper, 12.5x19.6 inches (32x50 cm), Kröller-Müller Museum, Otterlo, Netherlands. #arthistory #painting #oilpainting #labor
Most people don’t know that before he became an artist, Vincent was a missionary to a coal mining region of Belgium. The story of his time there breaks my heart.
From Judith Moore, “Late nights with Van Gogh,” San Diego Reader, November 18th, 2004:
‘Van Gogh headed as a missionary to the Belgian mining district of Borinage.
What Van Gogh found in Borinage horrified him more than London’s slums. Sweetman: “There were sights to pierce the heart: stables 2000 feet underground where ponies broken with toil spent their wretched lives; worse still, children, girls as well as boys, some only eight years old, filthy and in rags, pulled sledges of coal through tunnels too small for the animals. And hanging over all this was the constant fear of accidents.”
Van Gogh responded by giving away his clothing, food, bed, and finally, he moved out of his comfortable room to live with the miners to whom he ministered. When Esther, Van Gogh’s former land-lady, asked him why he behaved as he did, literally handing out the shirts off his back to be torn into bandages, Van Gogh replied: “Esther, one should do like the good God; from time to time one should go and live His own.” His superiors disapproved Van Gogh’s charities; they chastised him for overzealousness and after six months as a missionary, then-26-year-old Van Gogh was fired.
What a terrible moment! The occasion of his firing feels heartbreaking to the reader. How must it have felt to Van Gogh, who had set such hopes on being permitted to bring the remedy of God’s love to the miners? Sweetman guesses: “He was utterly cast down...he had done everything for God and God had surely rejected him.”
… During the months before he was fired, Van Gogh had been sketching miners and their families. (“I should be happy if some day I could draw then,” he wrote, “so that these unknown types would be brought before the eyes of the people.”) After his dismissal Van Gogh stayed on in the Borinage. He acquired a primer that taught drawing — “clear black-and-white studies of faces,” writes Sweetman, “with anatomical outlines that the learner was encouraged to copy as faithfully as possible” — and gradually, laboriously, Van Gogh taught himself to draw and paint.’
Our team member @epoz presented "Now that we have Large Language Models, are metadata standards still necessary?" at the Autumn School 2025 ‘Modern Stained Glass – Metadata – AI’ at University of Münster, Faculty of Catholic Theology
https://zenodo.org/records/17151141
#llms #generativeAI #metadata #iconclass #AI #arthistory #dh #digitalhumanities #culturalheritage #elephant #chatgpt @fiz_karlsruhe @nfdi4culture @NFDI4Memory
Our team member @epoz presented "Now that we have Large Language Models, are metadata standards still necessary?" at the Autumn School 2025 ‘Modern Stained Glass – Metadata – AI’ at University of Münster, Faculty of Catholic Theology
https://zenodo.org/records/17151141
#llms #generativeAI #metadata #iconclass #AI #arthistory #dh #digitalhumanities #culturalheritage #elephant #chatgpt @fiz_karlsruhe @nfdi4culture @NFDI4Memory
A depiction of child labor, by Joan (sometimes spelled Juan) Planella y Rodríguez (1850-1910), The Working Girl (Nena Obrera, or La niña obrera), oil on canvas, 1889, Museu d'Historia de Catalunya, Barcelona. More in ALT. #arthistory #labor #childlabor #painting #oilpainting #Art
A depiction of child labor, by Joan (sometimes spelled Juan) Planella y Rodríguez (1850-1910), The Working Girl (Nena Obrera, or La niña obrera), oil on canvas, 1889, Museu d'Historia de Catalunya, Barcelona. More in ALT. #arthistory #labor #childlabor #painting #oilpainting #Art
