#womanartist is an active hashtag on Bluesky. In the last 30 days, 10 people shared 36 posts with it — around 1 a day. Activity is down 58% versus the previous week, peaking on Oct 27 with 5 posts.

Posts with #womanartist

Danette Hitz Newton

@danettehitznewton.bsky.social

3 days ago

Nature's Feminist Manifesto brings bold color and organic shapes together, suggesting motion and feeling. It’s 36 by 36 inches and available to purchase as are prints and other products. #abstract #feministart #womanartist

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Michael

@mdstamper.bsky.social

about 1 hour ago

“Jamaican Girl” by Vera Alabaster (British) – Oil on canvas / c 1940s – Harbour Cottage Gallery (Kirkcudbright, Scotland) #WomenInArt #VeraAlabaster #HarbourCottageGallery #JamaicanArt #CaribbeanArt #HarbourCottage #PortraitofaWoman #art #artText #arte #1940sArt #WomanArtist #WomensArt #WomenArtists

A young Jamaican woman avoids eyes contact with us as her dark, expressive eyes, strong arched eyebrows, and full rose-red lips give her face a striking individuality. Thick black hair rises in soft waves above her forehead before falling into loose, abundant curls around her cheeks and neck. She wears a vivid yellow-green top with a gently scalloped neckline, its bright color contrasting with her warm brown complexion. Behind her, British artist Vera Alabaster blends muted blues, violets, grays, and greens into a textured backdrop. The close composition and absence of distracting details draw attention to the woman’s face, creating a portrait that feels both intimate and quietly commanding.

Alabaster was a painter associated with Kirkcudbright, Scotland, whose artistic career also took her to Jamaica during a formative period in the island’s cultural history. In the 1930s, she belonged to a circle of British women acquainted with Edna Manley, the influential sculptor and advocate for Jamaican art. Alabaster also contributed to art education at the Institute of Jamaica, where artists from different backgrounds helped develop opportunities for emerging Jamaican painters. Her work reflected an interest in people and places across cultures, including Jamaican landscapes and portraits. She later exhibited at the Royal Scottish Academy and the Royal Glasgow Institute.

During the decades leading to independence in 1962, Jamaican artists increasingly challenged European conventions and sought ways to represent their own communities, identities, and experiences. Figures such as Edna Manley, Albert Huie, and Henry Daley helped establish a modern Jamaican artistic tradition. Alabaster’s contribution has also received renewed attention as her work appeared in the National Gallery of Jamaica’s 2017–2018 exhibition “Explorations V: Portraits in Conversation,” which explored how race, class, gender, and colonial history shaped the representation of people in Jamaican art.

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Laura JG

@laurajg.bsky.social

about 11 hours ago

By African-American artist Lois Mailou Jones (1905–1998), The March on Washington, 1963, watercolor on paper. #arthistory #blackartist #blackartists #womanartist #womenartists

A watercolor painting of the March on Washington. Sem-abstract style. People marching toward the Lincoln Memorial.

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Laura JG

@laurajg.bsky.social

5 days ago

By Flora Lion (1878-1958), “Women's Canteen at Phoenix Works, Bradford,” 1918, oil on canvas, 1066x1828 mm, Imperial War Museum London. #arthistory #painting #oilpainting #womanartist #womenartists

From the museum: “Artist Flora Lion was an established society portrait artist who, during the First World War, organised permission to sketch factories in Leeds and Bradford. She created two oil paintings that were donated to the Imperial War Museum in 1927… This scene at the Phoenix Dynamo Company in Bradford shows the factory canteen filled with female workers taking their lunch break, chatting and queueing in their work-issued uniforms. They are depicted by Lion as a sisterhood of strong young women, and look both confident and relaxed. The two figures in the centre, arms entwined, stand for a generation of women newly liberated by employment. History Canteens like this one were a popular wartime welfare innovation, aimed at maximising production efforts. For many women it was their first chance for a good regular meal. Phoenix Dynamo was contracted to produce Short sea planes, shells, machine tools and flying boats.”

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Elaine Fogel

@elainefogel.bsky.social

4 days ago

I thought I'd share a bit about myself today. I'm a Canadian-American artist living in Phoenix, AZ. I find joy in creating nature-inspired art and relish the positive feedback I receive! Thanks to those who have been following my art journey. 💕 elainefogelart . com #womanartist #artist #artlovers

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The Zen of True Art

@thezenoftrueart.bsky.social

8 days ago

Georgia O'Keeffe, "Apple Blossoms," oil on canvas, 1930; Nelson-Atkins Museum of Art. #art #arte #modernart #flowers #appleblossoms #flowerpainting #okeeffe #georgiaokeeffe #womanartist #femaleartist #paintings #pinturas #museum #artgallery

1 17 77

Maggie Fabbi

@maggiefabbiart.bsky.social

4 days ago

What the algorithm wants...the algorithm gets ✨😬✨#artoftiktok, #ottawa, #womanartist, #Canadianartist

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Michael

@mdstamper.bsky.social

10 days ago

“Portrait of a Woman” by Phyllis Purser (British) – Oil on canvas / c. 1960–1980 – Williamson Art Gallery & Museum (Birkenhead, England) #WomenInArt #PhyllisPurser #WilliamsonArtGallery #art #artText #arte #WomensArt #Purser #BritishArt #WomenArtists #BlackPortraiture #PortraitofaWoman #WomanArtist

Against a rose-red background, an unidentified Black woman with dark eyes looks past us to our left. Thick black hair rises high above her forehead, framing a face modeled in deep browns, grey-greens, and pale highlights. A small gold-colored earring is visible. Her lips are closed, her expression steady and serious. Without a recognizable setting, the painting keeps our attention on her.

A white sleeveless top contrasts with her skin, while a multicolored cloth with purple, plum, moss green, cream, and pale pink in broad, visible brushstrokes drapes from her right shoulder across her torso. The woman’s eyes, nose, and mouth are handled with considerably greater precision than the loosely sketched fabric. Even the background varies in tone, moving from darker mauve on the left to a lighter dusty pink on the right. This contrast gives the portrait its energy.

British artist Phyllis Miriam Purser (née Palmer) was born in Grantham, Lincolnshire, and trained at Nottingham School of Art from 1911 to 1913. She worked chiefly as a commercial illustrator, becoming known for postcards, greeting cards, and cheerful illustrations of children. After marrying Jack Purser in 1917, she lived for a time in Paris, then returned to England in 1921 and settled in Hoylake on the Wirral. Her designs were published by firms including Vivian Mansell and J. Salmon. Later in life she devoted more attention to painting and exhibited with the Society of Women Artists in 1973.

Unlike the playful subjects for which she was widely known, this painting offers an encounter with a woman whose composed gaze dominates the canvas. Acquired by the Williamson Art Gallery & Museum as a gift in 2006, it preserves an image of a dignafied Black person without pretending to recover a biography that the record does not supply.

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Danette Hitz Newton

@danettehitznewton.bsky.social

10 days ago

Got a little work done on this cosmos-inspired painting. #cosmos #oilpainting #geometricart #womanartist

1 5 48

Michael

@mdstamper.bsky.social

10 days ago

“The Jolly Washerwoman” by Lilly Martin Spencer (American) – Oil on canvas / 1851 – Hood Museum of Art (Hanover, New Hampshire) #WomenInArt #LillyMartinSpencer #HoodMuseumOfArt #AmericanArt #AmericanArtist #WomenArtists #19thCenturyArt #art #artText #1850sArt #WomensArt #WomanArtist #WomenArtists

A smiling woman pauses over a wooden washtub, turning toward us with rosy cheeks, dark hair neatly arranged, and a broad, toothy grin. Her reddish-brown dress and white apron contrast with the muted brick walls of a working household interior. Her strong, reddened arms reveal the physical demands of scrubbing laundry by hand. Around her, American artist Lilly Martin Spencer meticulously records the tools of domestic labor: a washboard, soap, clothespins, metal containers, and piles of clothing. A shallow basin holds freshly washed garments, arranged from lighter fabrics to darker colors, while a jacket rests atop the unwashed laundry in the foreground.

The woman was probably Jane Thompson, a Scottish-born immigrant servant in Spencer’s household. Between 1845–1852, many Scottish and Irish immigrant women found employment in American households, performing exhausting work that often went unrecognized. The painting’s cheerful atmosphere contrasts with the evidence of demanding, repetitive labor, including the woman’s chapped arms, bent posture, and seemingly endless washing.

Born in England to French parents, Spencer became one of the few 19th-century American women to achieve national recognition and support her family through painting. Her husband and 7 surviving children depended largely on her earnings. By placing a working woman at the center, Spencer challenged artistic conventions that favored male activities and public life. The painting’s original round-arched frame also gives an ordinary domestic worker an almost monumental dignity. Yet Spencer’s ability to pursue her career also depended on the labor of women such as Thompson.

Spencer’s detailed realism drew upon European painting traditions. Remarkably, her signature was later painted over and replaced with a forged signature of German artist Meyer von Bremen, probably when European paintings commanded higher prices than works by American women. The forgery has since been removed.

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Michael

@mdstamper.bsky.social

12 days ago

“Shroud” by Mary Whyte (American) – Watercolor on paper / 2007 – The Johnson Collection (Spartanburg, South Carolina, USA) #WomenInArt #MaryWhyte #TheJohnsonCollection #art #artText #watercolour #Watercolor #JohnsonCollection #Whyte #SouthernArt #PortraitPainting #2000sArt #WomenArtists #WomanArtist

The woman depicted in “Shroud” worked in a textile mill in the American South, where an industry that had supported generations of families was increasingly threatened by closures. American artist Mary Whyte painted her in 2007 while developing “Working South,” a series devoted to people in disappearing occupations. Rather than show the woman at a machine, Whyte surrounds her with the material central to her working life. The result is both a portrait and a reflection on an industry’s decline.

The pale-skinned woman’s head leans to one side, her eyes lowered and her blonde hair streaming toward the left. An expanse of yellow cloth sweeps above her head, curls around her shoulders, and falls in folds along her body. Washes of gold, orange, lime green, and red animate the fabric, while deep blue-black shadows fill the surrounding space. Her mature face is modeled with delicate precision, in contrast to the broad, fluid strokes of the cloth. Its almost weightless movement makes her stillness striking. No hands emerge from the folds, leaving her expression as the painting’s most immediate human detail.

Whyte was born in Ohio, studied at Philadelphia’s Tyler School of Art, and settled in coastal South Carolina in 1991. She became known for watercolors of women in the Gullah community near Charleston. For “Working South,” she traveled through ten Southern states to depict mill workers, farmers, fishermen, and others whose labor was often overlooked. Writing about “Shroud” in her 2011 book “Painting Portraits and Figures in Watercolor,” she explained that the model worked in a textile mill and that the painting conveyed her feelings about the mills’ demise rather than a literal workplace scene.

A shroud is a covering associated especially with death, and here it can suggest the fading of a livelihood and a way of life. Yet the woman is neither erased nor reduced to a symbol as Whyte gives her a distinct face, a moment of quiet, and a commanding presence.

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Artist Melinda

@artistmelinda.bsky.social

11 days ago

#Art share. This is Tumacacori Mission©MSE. If you zoom in, you can see the angry scratches of the artist using wood carving tools. Happy when finished. #Sold #WomanArtist #SecondToNone ##ContemporaryArt #OilPainting

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