#femaleartist is an active hashtag on Bluesky. In the last 30 days, 18 people shared 63 posts with it — around 2 a day. Activity is down 37% versus the previous week, peaking on Jul 9 with 7 posts.

Posts with #femaleartist

Erin Hanson

@erinhansonartist.bsky.social

3 months ago

Carmel-by-the-Sea is captured in vivid, saturated hues, and impasto brush strokes. This petite oil painting captures all the wide vista of the sea on a small canvas. Carmel Blues Original Oil Painting by Erin Hanson, 2022 16 x 20 in #california #oilpainting #art #dailyart @bsky.art #femaleartist

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Michael

@mdstamper.bsky.social

11 months ago

"Retrato de Lucha María, niña de Tehuacán" by Frida Kahlo (Mexican) - Oil on masonite / 1942 - San Diego Museum of Art (California) #WomenInArt #FridaKahlo #art #Kahlo #artwork #WomanArtist #WomensArt #MexicanArtist #FemaleArtist #artText #MexicanArt #ModernArt #WomenArtists #SanDiegoMuseumofArt

A young woman sits barefoot on a pale rock in a barren landscape under a dramatic sky. She wears a knee-length white dress with a black-and-white patterned jacket. Her dark hair with braids is parted and pulled back, framing a calm face that gazes directly at us. In her lap, she holds a carved wooden toy shaped like a plane. Behind her, swirling gray clouds frame two glowing orbs: a bright red sun to the right and a pale moon to the left. Low ochre pyramids sit in the distance, emphasizing her still, symbolic presence between earth and sky.

This portrait by iconic Mexican artist Frida Kahlo fuses realism with cultural and historical symbolism. Lucha Maria sits firmly on rock, her innocence grounded in both childhood and the deep roots of Mexican identity. In her lap rests a camouflaged model military plane that is a toy yet likely a reminder of World War II, reflecting global turbulence entering even private lives. Behind her, two step pyramids evoke Mexico’s ancient civilizations and continuity of heritage. Above, sun and moon appear together, a Mesoamerican symbol of cosmic dualities: life and death, day and night. By placing the young woman between pyramids, celestial forces, and war’s shadow, Kahlo entwines childhood, national identity, and global conflict into a meditation on resilience and cultural endurance.

In 1942, when Kahlo painted "Portrait of Lucha Maria, A Girl from Tehuacan," her health was fragile but her artistic recognition was rising. She had recently joined Mexico’s artistic movement to honor national identity and indigenous culture. Diego Rivera’s fame still overshadowed hers, yet Frida was carving her own place. Through "Lucha Maria," she reflected both childhood innocence and Mexico’s cultural heritage, even as she faced personal pain and growing creative independence. It is a layered meditation on childhood, heritage, and the world’s upheaval, showing Kahlo’s ability to turn a portrait into a reflection on identity, culture, and history.

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Kaitlyn Socks - Commissions Open

@grippysocks-minis.bsky.social

over 1 year ago

Vizzik is FINALLY finished 🥹🐀 it’s been a long journey, so happy it’s over 😅 #nerdlings #femaleartist #commissionpainter #warhammeraos #warhammercommunity #ageofsigmar #minipainter #miniaturepainter #womenofwarhammer #paintingminiature #vizzik #skaven #minipainting #paintingmini #femaleartists

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Michael

@mdstamper.bsky.social

over 1 year ago

Autoportrait (Self-portrait) by Suzanne Fabry (Belgian) - Oil on canvas / 1932 #womeninart #art #womanartist #portraitofawoman #selfportrait #oilpainting #SuzanneFabry #BelgianArtist #womensart #WomenPaintingWomen #femaleartist #fineart #portrait #beauty #BelgianArt #AcadémieRoyaledesBeaux-Arts

This 1932 self portrait by Belgian artist Suzanne Fabry recalls classical depictions of female beauty, whilst also calling them in to question. The slight contortion of Fabry’s limbs suggests a certain artifice to the pose, whilst her direct gaze and the prominent positioning of her brush reinforce a sense of authority that preemptively rejects any attempt to perceive the sitter as a mere aesthetic object.

The stripped-back composition further emphasizes the sitter’s commanding presence, while also drawing focus to the intricacies of her chartreuse dress. The delicate rendering of fabric hints at Fabry’s future career as a prolific costume designer for the Belgian national opera house, La Monnaie.

Taking the dual role of artist and muse, Fabry creates a self-portrait that examines the viewer as much as they examine the work itself, and it is through such confrontations that Fabry’s inimitable skill as a portraitist truly shines.

At the start of the First World War and the subsequent invasion of Belgium by German forces, a young Fabry was forced to flee to England with her father, the renowned Symbolist painter Émile Fabry. Having spent time in Herefordshire and St Ives, the family returned to Brussels at the end of the conflict, where Fabry’s upbringing continued to be influenced by the political turmoil and ideological upheaval that defined the earlier part of the twentieth century.

Autoportrait was painted after her graduation from the Académie Royale des Beaux-Arts. This monumental self-portrait depicts an artist who is already confident in her skills and assured of her own sense of artistic identity.

Influenced by her father’s symbolist tendencies, Fabry was never overshadowed by his legacy. Using her own distinctive style, she went on to create an enigmatic body of work which was dominated by assured yet dream-like portraiture and subtle interrogations of the female form.

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Michael

@mdstamper.bsky.social

over 1 year ago

Self-Portrait by Romaine Brooks / Beatrice Romaine Goddard (American) - Oil on canvas / 1923 - Smithsonian American Art Museum (Washington DC) #womeninart #womanartist #art #selfportrait #oilpainting #smithsonian #RomaineBrooks #artwork #portraitofawoman #womenpaintingwomen #womensart #femaleartist

Romaine Brooks, born Beatrice Romaine Goddard in 1874, was an American painter who worked mostly in Paris and Capri. She specialized in portraiture and used a subdued tonal palette keyed to the color gray. Brooks ignored contemporary artistic trends such as Cubism and Fauvism, drawing on her own original aesthetic inspired by the works of Charles Conder, Walter Sickert, and James McNeill Whistler.

Her subjects ranged from anonymous models to titled aristocrats. She is best known for her images of women in androgynous or masculine dress, including this self-portrait of 1923, which is her most widely reproduced work.

Brooks’s came from wealth which afforded her freedom other women at the time could only dream. She was free to shake off the restrictive limits of women artists to include female nudes in her early exhibits and take classes in which she was the only woman. After a brief, tumultuous marriage to John Ellingham Brooks, she rejected monogamy and, largely, men, even as subjects.

In 1915 she met Natalie Clifford Barney, a leading host of salons in Paris, and the couple began a five-decade nonmonogamous relationship. Despite their deep bond, the two women maintained near total independence, living in a home with separate wings and both having relationships (some serious) with other women.

In an era still dominated by men, Brooks leaned into the subculture to which she belonged and painted largely her own friends and lovers. Her portrait depicts her as an artist who eschewed gender via a mode of dress that was both fashionable at the time and a signal of her sexuality. Brooks was part of a growing, but still little-known group of women who wore men’s clothes and cut their hair short not just to embrace the 1920s androgyny trend, but to communicate to others in the know that they were lesbians.

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The Zen of True Art

@thezenoftrueart.bsky.social

about 17 hours ago

Olga Sacharoff (1879-1967), "The Theatre Box," oil on canvas, nd; photo: MacDougall's Auctions. #art #arte #modernart #portrait #portraitpainting #paintings #oilpainting #womanartist #femaleartist #museum #musee #museo #artgallery

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Kaitlyn Socks - Commissions Open

@grippysocks-minis.bsky.social

almost 2 years ago

i own every single sylvaneth model… and i’ve only painted one so far 😅😂 #warhammeraos #warhammerageofsigmar #sylvaneth #ageofsigmar #commissionpainter #minipainter #femaleartist #paintingminiatures #ttrpg

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Michael

@mdstamper.bsky.social

over 1 year ago

Anaïs Nin by Natashia Troubetskoia (Russian) - Oil on canvas / c. 1932 - Smithsonian's National Portrait Gallery (Washington DC) #womeninart #femaleartist #womanartist #portraitofawoman #womensart #art #oilpainting #smithsonian #AnaisNin #AnaïsNin #NatashiaTroubetskoia #Troubetskoia #RussianArtist

French-born American diarist, essayist, novelist, and writer of short stories and erotica Anaïs Nin wrote about female identity and sexuality in a style that was both explicit and poetic. Her most significant work, a diary spanning six decades, recounts her transformative experiences in Paris from 1926 to 1939.

At first, Nin felt intimidated by the French capital’s competitive literary scene. She hid her insecurity behind “original, striking clothes which distinguish me from other women.” She was delighted when a blue velvet coat she had made was mistaken for a design by the eminent couturier Jeanne-Marie Lanvin. It appears in this portrait by the Russian artist Natashia Troubetskoia, who admired Nin’s eccentric style.

In between portrait sittings, Nin was writing her first book -- a study of the writer D.H. Lawrence. Published in 1932, its shocking sexual candor marked her distinctive literary voice. As she wrote in her diary, she no longer needed clothing to express her uniqueness. “I have other things to do.”

Troubetskoia was reportedly a princess who fled to Paris after the Bolshevik revolution. She met Nin in January 1929 and painted several portraits of her including this one in 1932. She also used Nin as a model for other paintings, and Nin used the Princess's studio as a mailing address and meeting place in Paris.

In the painting, we see Nin elegantly dressed in a long royal blue velvet robe with gray fur trim, sitting regally on an ornate chair with her legs crossed and head slightly cocked to her right while exuding an air of quiet confidence and sophistication.

She is striking with dark, shoulder-length wavy hair, extremely fair skin, and dark eyes that hold a direct gaze at us. She wears a dark pendant necklace and her hands, adorned with rings, rest gracefully on the arms of the chair. She wears white stockings and dark pointy shoes with delicate straps. Her pose is one of relaxed yet controlled dignity making her as memorable as her writings.

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Kaitlyn Socks - Commissions Open

@grippysocks-minis.bsky.social

over 1 year ago

and just like that, she can fly!🪽 #nerdlings #femaleartist #sylvaneth #archrevenant #warhammeraos #ageofsigmar #minipainter #minipainting #paintingminiatures #commissionpainter #commissionsopen

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Michael

@mdstamper.bsky.social

over 1 year ago

Autoritratto con capello rosso (Self-portrait with Red Hat) by Leonor Fini (Argentine-Italian) - Oil on canvas / 1968 - Palazzo Reale di Milano (Italy) #womeninart #selfportrait #art #oilpainting #womanartist #LeonorFini #femaleartist #womensart #portraitofawoman #PalazzoReale #PalazzoRealediMilano

The 1968 artwork titled “Autoritratto” is an intriguing self-portrait by Argentine-Italian surrealist Leonor Fini. We are immediately drawn to the striking contrast between the vibrantly painted reddish-orange hat and the cool, subdued tones of the sea blue background. The hat, with its expansive brim, frames the face of the artist and adds a dramatic flair to her visage.

Fini’s gaze confronts us directly, serene yet penetrating, suggesting a confident and introspective presence. She wears a deep scoop-neck dress adorned with a pattern blending botanical elements with abstract forms, perhaps indicating the complex nature of identity and the way it intertwines with the surrounding world.

The use of color is noteworthy, with the background rendered in a monochromatic blue that enhances the luminosity of her pale very white skin and the fiery hat, creating an aura of mystique around the figure. The brushwork appears fluid, with the patterns on the body executed in a manner that suggests both spontaneity and intention.

The overall composition speaks to the influence of surrealism, yet it remains grounded in a realism that captures the essence of the artist’s physical features.

Born to an Argentinean father and an Italian mother, Leonor Fini received a cosmopolitan education in the heart of the Triestine literary scene. In 1925, having decided to paint, she moved to Milan, where the approach of Renaissance painters inspired her. Meeting Savinio, Carrà, and other Italian Magical Realists had a profound effect on her. When she moved to Paris in 1931, her interest in Surrealism strengthened her penchant for the wonderful and dream-like. Despite her friendships within the group of Surrealists, she explored the imaginary visions dictated by her fantasies alone: women-sphinxes, ephebes, and chimeras populate scenes where sacred rituals mix with the erotic, in an atmosphere which is incandescent and gloomy by turns, and always enigmatic.

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Michael

@mdstamper.bsky.social

over 1 year ago

The Ascendants XVIII (She Is Here And So Are You) by Wangari Mathenge (Kenyan) - Oil on canvas / 2021 - Dallas Museum of Art (Texas) #womeninart #womanartist #art #oilpainting #WangariMathenge #womensart #femaleartist #DMA #DallasMuseumofArt #KenyanArtist #womenpaintingwomen #Kenyan #artwork

Kenyan artist Wangari Mathenge's “The Ascendants XVIII (She Is Here And So Are You)” was part of Mathenge's solo exhibition “You Are Here” at Pippy Houldsworth Gallery in 2021. The piece belongs to the artist's ongoing series in which figurative compositions explore hybridity across the continent and diaspora, reflecting on personal experience of movement between the two.

This vibrant painting depicts a woman seated at a vanity, engrossed in reading a book.

The scene is composed within a small room, likely a bedroom. The woman is positioned centrally, seated at a green vanity with a three-part mirror. The vanity is the focal point, and elements in the foreground and background are arranged to direct the viewer's gaze to the main subject. The framing is intimate, focusing on the woman and her immediate surroundings with patterned fabrics and pillows on the floor in front of the vanity adding depth and interest.

The central figure is a mature dark-skinned woman wearing a reddish-orange headwrap and multicolored, patterned gown featuring a variety of vibrant and bold patterns and colors. The colors and prints reflect the artist’s African cultural influences.

Lauded by Apollo Magazine, “(Women) in Mathenge’s explosively colorful domestic settings – replete with Kanga textiles and other signifiers of their subjects’ East African heritage – have agency, either contemplating themselves and their own thoughts or observing us, the viewer, with magnificent hauteur.”

Mathenge was born in Nairobi, Kenya in 1973 and holds an MFA in Painting and Drawing from the School of The Art Institute of Chicago. Recent institutional exhibitions include Stretching the Body at Fondazione Sandretto Re Rebaudengo, Turin, and Black American Portraits, at LACMA, Los Angeles. Further collections include Nasher Museum of Art, NC; Weisman Art Museum, Minneapolis; Elie Khouri Art Foundation, Dubai; Christen Sveaas Art Foundation, Norway, and Fondazione Sandretto Re Rebaudengo, Turin.

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Erin Hanson

@erinhansonartist.bsky.social

about 1 year ago

Fresh off the Easel! The final piece is called "Northwestern Golds." I hope you enjoy this piece, along with the inspiration photo! #oilpainting #inspiration #dailyart #femaleartist #natureart #impressionism @bsky.art