The car top is down, coastal salt and sea whipping at her hair, not one frown, not down. She is free, wild and doesnt care. At any moment she is not out of your mind, because she was the best thing you ever had. Your sensations of moving inside her desire and surreal world are gone, by your choice. You had your chance, now it's flown. Now she drives fast, giggles and dances to her own sensual rhythm. Her colors are back. AVAILABLE! "Lust vs. Love": 24x48, acrylic on canvas. HAPPY SATURDAY lovely people!💚💛💜💙❤ #nogossipthisnotaboutmyhusband#impressionism#womenpainters#livelifetothefullest#paintersofinstagram#womenartists#writingheals
"Brita Maria Banck, Housekeeper" (1890) by Eva Bonnier (1857- 1909).
📌was born in Stockholm, Sweden 🇸🇪 into a family of publishers.
📌studied painting at the women's section of the Royal Swedish Academy of Arts in Stockholm.
📌was an active portraitist until 1900, then she devoted herself to philanthropic work, enabled through her inherited wealth. The foundation she established is still active. 📌is represented with several paintings in the Nationalmuseum, Stockholm.
“Rather than trying to figure out what they’re looking at, viewers should focus on the way they feel when looking at my work.” NEW | Q&A with @carolineciezart on her flight attendant life, her new love of painting and what they wants to convey in her work 🖌 link in bio
Creating a large contemporary oil painting on a big, over-sized canvas has its delights and challenges. It is utterly exhausting but painting huge is unbelievably exhilarating. Hundreds of hours of work go into the process of building up the many layers of oil paints. Sometimes a painting can take many years to make and during that process they develop a character of their own. Minimum lead time on a commission is 10 months but for a heavily layered piece it is advisable to think in terms of at least two years. I’m unashamedly trying to capture beauty and reflect it as an antidote to our frenetic times. My aim is to create something that lifts the viewers spirits and provides peace and tranquility. My style is constantly changing as I keep discovering new paints and techniques and I want to explore the limitless possibilities of colour on canvas. I don't ever want to become bored and always push myself to take greater creative risks. I love to work with oil paints and adore the jewel colours that come from natural pigments enabling an incredible relationship between nature and the painting. There is an immediacy to my work too and a direct and absorbing relationship with each piece that can be really exciting.
I wrapped and shipped this super woman to @customshousemuseum for the Women Painting Women: In Earnest exhibition in Clarksville, TN, OPENING August 10, 2017. Thank you @aliapainter and @dianefeissel for curating and including The Seamstress. And thank you @curlystrickland for being my ever-present inspiration and willing muse.
It was my graffiti-brother in law who introduced me to #poscapens (well: and for white the #molotowpaintmarkers , they cover much better than the Posca-white).
I think I never gave him full credit for it...
So here goes: a BIG thank-you @clubbertje !!!
I think my fans are also grateful for you giving me these tools for my birthday a few years ago, hehe!
Another kinda recent watercolor (with fat Posca-markers outlines)... I am really not into making illustrations, but I am into making eye-candy!
I guess it's like some kind of self-pleasuring, like when one makes a delicious dish instead of just some fast macaronis.
Life is a feast. Gotto celebrate it!
"Mushroom" (2002) by Yayoi Kusama (born 1929).
📌was born into an affluent but dysfunctional Japanese family. By the age of ten she began experiencing vivid hallucinations, which included flashes of lights and dense fields of dots.
📌By 1950, Kusama began covering surfaces (walls, floors, canvases, naked people) with the polka dots that would become a trade mark of her work.
📌She moved to New York in the late fifties and by the mid-sixties she became well known in the avant-garde world for her provocative happenings and exhibitions.
📌In the seventies she returned to Japan suffering from mental illness. She checked herself into a hospital for mentally ill, where she took up a permanent residence. Her studio is a short distance from the hospital.
📌Her work started gaining much recognition during the nineties with major retrospectives were held during the last twenty years.
Tonight 7/14, 7-9:30pm: Visit THE RECTANGLE Studio and Gallery for the closing of PORTRAIT PAINTING MOTHERS and birthday celebration for super nice guy and gallery owner, Lee. Sounds like a great way to spend a Friday night!
"I am quadrilingual—I speak in English, black-speak, creativity, and hip-hop lyrics."
NEW | A Q&A with artist @shanequagay on being an “artivist,” what she’d like to see more of from ATL’s creative scene + more 👉 link in bio
The last post was a detail of this entire watercolor drawing/painting.
I made these works a few years ago, and I remember wanting to make this one mean... that's why the scorpion-tail-like braid.
This woman is up to something!
The watercolor-artworks were a playground for what I couldn't do so easily on canvas.
Compared to works on canvas, these works are made fast and result in good outlets of new ideas!
The first black woman to hold a solo show at the Whitney in 1972 at the age of 80, Alma Woodsey Thomas taught art for 35 years and produced most of her works after her retirement. We love her brilliant, nature inspired color field paintings, but her tenacious creative spirit is just as inspiring. “Creative art is for all time and is therefore independent of time,” she said in a 1970 interview. “It is of all ages, of every land, and if by this we mean the creative spirit in man which produces a picture or a statue is common to the whole civilized world, independent of age, race and nationality; the statement may stand unchallenged.”