history-of-art

[history-of-art]

(½) Interior of the San Pedro / Los Angelesw Warner Grand Theatre from my 4/24/2016 visit. Entire set is up on my flickr: https://www.flickr.com/gp/7398381@N04/6m38zd

[history-of-art]

[history-of-art]

Design for Windrush printed textile William Morris, 1883 Shared via #WikiArtApp

[history-of-art]

Detail of an earring from a 1781 self-portrait by Louise Elisabeth Vigée Le Brun.

[history-of-art]

[history-of-art]

Gustav Klimt 

Girlfriends [Gustav Klimt An Aftermath], 1931

Collotype

[history-of-art]

Olga Costa | Mexican

La Vendedora de Frutas | 1951

[history-of-art]

Robert Mapplethorpe in front of his cover for Patti Smith’s Horses c.1975

[history-of-art]

Angel (1887), Abbott Handerson Thayer / This Year, The Mountain Goats

[history-of-art]

Abstract Expressionism is largely remembered as a movement defined by the paint-slinging, hard-drinking machismo of its poster boys Jackson Pollock and Willem de Kooning. But the women who helped develop and push the style forward have largely fallen out of the art-historical spotlight, marginalized during their careers (and now in history books) as students, disciples, or wives of the their more-famous male counterparts rather than pioneers in their own right. (An exception is Helen Frankenthaler, whose transcendent oeuvre is often the only female practice refe

[history-of-art]

window shop in art deco paris

[history-of-art]

[history-of-art]

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“What happens when five feminist artists lock themselves up in a gallery for 48 hours?” asked the mujeres behind the Twin Cities arts collective Electric Machete Studios, located in the first Latino neighborhood of Minnesota, West St. Paul.

[history-of-art]

SubmissionFriday: 

 The other part of me by Cristina Coral

[history-of-art]

Artist Alert: Michelle Kingdom

[history-of-art]

“Lee Miller brought mud from the concentration camp into the dictator’s bathroom — once a private, now very public space — with her boots, which she left on a soiled rug. Next to a portrait of Hitler, and amid the mess he’s made, she sits in the tub and washes herself. By appearing in the photo, Miller breaks out of her role as observer and reprises her work as a model at a crucial moment. She strikes back at the dictator in her own way, crossing a personal boundary in order to express a disgust that she can’t contain.“