der.hans
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Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last week
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last week
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
From the website: “The girl, aged around 9 or 10, is dressed in a brown skirt and apron, and a kind of grey smock with rolled-up sleeves. Around her neck, she wears a whitish neckerchief. The child, with pale skin and reddish hair, has a half-plaited braid that falls down her back. Her gaze is fixed on what she is doing, and her stance has an air of resignation and weariness. The rest of the painting, from the central part to the far right, has a clear protagonist: the loom. It is probably the ‘back strap’ type, a technical apparatus based on straps and wooden bars, which was a mechanised version of the traditional hand loom. At the bottom of the plate, next to the girl’s skirt, you will notice, embossed, the mechanism’s two large cogwheels that make the loom function. And lastly, an important detail. In the background of the scene, in semi-darkness, we can make out the figure of a man –probably a foreman– who seems to be in front of another machine. However, his gaze is clearly directed towards the girl, in a watchful attitude. This part of the work is not represented tactilely. Despite the formal beauty of the painting from an artistic point of view, its subject matter shocks us with the reality it depicts: a testimony to the conditions of child exploitation that contributed to the thriving textile industrialisation of the 19th century.”
Jonathan L Keeton
@Jlkeeton@mastodon.sdf.org  ·  activity timestamp last week
Mario Pacchiarotti
@jimjams@mastodon.art  ·  activity timestamp 4 weeks ago
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Mario Pacchiarotti
@jimjams@mastodon.art  ·  activity timestamp 4 weeks ago
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Questo dipinto raffigura una donna elegante, abbigliata con un sontuoso abito rosso-arancio dai toni accesi e vibranti, seduta a un pianoforte nero mentre suona. Lo sfondo è ricco di colori caldi, soprattutto giallo e arancio, che trasmettono energia e passione. I dettagli dell’abito sembrano fondersi con l’atmosfera circostante, creando un effetto dinamico e coinvolgente. L’insieme suggerisce emozione, arte e armonia musicale attraverso pennellate espressive e vivaci.
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last month
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
Excerpt from the Lot Essay: “… in profile to focus on her form - clad in figure-hugging silk brocades, offset by an extravagant chiffon bow at the neck. Surface, thus exposed, contained soul. The eye ranges freely over the narrow seventeen-inch waist, the ramrod line of her back, the measurement between ear, nose and mouth, carefully calibrated, and the shock of unruly tresses tamed, it was said, by no more than two pins. By its very nature, a profile is more intimate than a full face; we observe without being observed. The mask is not in place and the eyes do not distract. In this instance, they cast their gaze upon a sculpture as a connoisseur might, and the piece Mlle Bernhardt delicately fingers is that of Orpheus, given to her to hold at this moment by Bastien-Lepage, in order to compliment and express her aspirations as a sculptor.”
sommerlich.art
@brandkopf@mastodon.art  ·  activity timestamp 3 months ago
Me painting a lions head with oil paint. The lion consists of chrome spikes and lava inbetween.
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