#(portaits in the gallery | art)

[wanderpawn]

"If only emotions weren't so... unpredictable...."

✧ Alternate version under the cut ! ✧

Neuvillette's hairstyle in this one was based on my fanfic, which was based on my cosplay ! ヽ(・∀・)

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[damnedrainbows]

reposting hazbin art and wondering what I was on when I drew some of them

[starlightmeadowbloomthesecond]

By che.lla74

[cavity-collector]

self portrait for my website once againnn ! i am bald now

[kitcatbookmad]

Spent a few hours in the Tate Britain at the weekend.

[dotoriginal]

[pdrezik]

[dougwallen]

National Portrait Gallery feature for Broadsheet

[tsukamine]

Artiste: Marie-Guillemine Benoist

Titre: Portait d’une femme noire

Portrait d'une femme noire anciennement dénommé Portrait d'une négresse est un tableau de la peintre française Marie-Guillemine Benoist, élève de Jacques-Louis David, réalisée en 1800. Cette huile sur toile est un portrait d'une jeune femme noire considéré comme une célébration de l'abolition de l'esclavage dans les colonies par la Révolution française.

Acquise en 1818, cette œuvre est conservée au Musée du Louvre, à Paris.

Source: Wiki Art

Marie-Guillemine Benoist’s Portrait of Madeleine (formerly known as Portrait of a Negress) hangs today in the Louvre in a gallery devoted to paintings by Jacques-Louis David and his students. It is placed at the center of a wall displaying seven portraits, a location that asserts its importance. In 1800 the work was exhibited in the Louvre for the first time, at the Salon—the state-sponsored presentation of works by contemporary artists. It hung in the Salon Carré, one smallish work on a wall of paintings hung frame to frame, floor to ceiling, as was customary at the time. Contemporary art critics picked it out, but not all were impressed. The critic for a conservative paper derided it as a “noirceur” or “black stain.” Why did this work provoke such a negative response when first exhibited?

Link: smarthistory

[lesbiandirectioner]

A quote from "My Policeman" by Bethan Roberts "Have you heard of Thomas Burgess?" I ask. "The policeman from Brighton?" "Nah. Why would I?" "His is a very interesting story." "I know enough about the filth already. What about a bit more on Shakespeare? The tragedies. I love tragedies." "Oh, this is a tragedy. One of the best." He looks dubious but says, "Go on, then. Surprise me." I draw a deep breath. "Thomas --Tom to his friends-- was a policeman with a problem." "You don't say." "He wasn't a bad policeman. He turned up on time, did his job to the best of his abilities, tried to be fair." "Don't sound like any copper I know." "That's because he wasn't like any other copper. He was interested in the arts, in books and music. He wasn't an intellectual --his education meant he couldn't be like that-- but he was intelligent." "Like me." I ignore this. "And he was very handsome. He looked like on of the Greek statues in the British Museum. He loved to swim in the sea. His body was strong and lithe. His hair was golden and curled." "Sounds like a qu**r." A few other men have gathered around to listen. "That's what he was," I saw, keeping my voice even. "That was Tom's problem." Bert shakes his head. "F*cking filth. I don't think I want to hear no more, Hazelwood." "It was his problem, but it was also his joy." I continue. "Because he met a man, an older man, whom he liked very much. This older man took Tom to the theater, to art galleries and the opera, and opened up an entirely new world to him." The muscles in Bert's face have stopped moving. His eyes flicker. "Tom liked to listen to this man talk, just as you like to listen to me. He took a wife, but that meant nothing. He continued to see the older man as much as he could." "Because Tom and the older man loved each other very much." Bert comes up close to me. "Why don't we change the f*cking subject, mate." But I don't stop talking, I can't stop. "They loved each other. But the man was sent to prison on a trumped-up charge because he'd been careless. Tom's pride and his fear stopped him from ever seeing the man again. Despite this, the man went on loving him. He will always love him." All the time I talk, more men gather round, summoned by Bert's silent rage. And I know they'll have made sure the screw is looking the other way while Bert punches me quietly in the stomach until I fall to the floor. I'm talking all the time, even as the punches take the air from my body. He'll always love him, I say. Over and over. Then Bert's kicking me in the chest and someone else is kicking me in the back and I cover my face with my fists but it does no good because the blows keep coming. And still I'm getting the words out. He'll always love him. And I remember the time Tom came to the aparment and was so angry with me for lying to him about the portait and I imagine it's him kicking me again and again and again and I keep whispering his name until I no longer feel anything at all. And people wonder why this book made me cry.

[romilly-jay]

Upon Seeing a Portrait of a Fine Young Lady and Realising That I Would Really Rather Like to BE Her (// and then reading her bio and realising i) this instinct was correct and ii) she was 1000% more badass than I'm constitutionally likely ever to be)

This portrait was in the final room [I think!] of Tate Britain's recent exhibition of art by women in Britain, 1520 - 1920.

Isn't she marvellous? Well, I think she is, anyway. I either want to BE her or be WITH her, either way (neither possible, of course, but hey).

This is the description of the portrait given in The Guardian's review of the exhibition (didn't realise it referenced this image but perhaps it's so startlingly True to the person that the nod was inevitable?)

‘Modern bravado’: The Music Room, 1912, Ethel Wright’s portrait of the suffragette Una Dugdale Duval. Photograph: Private collection

As mentioned, Guardian reviewer Laura Cumming calls out the Una Dugdale Duval portrait in her review of the exhibition so hurrah for unexpectedly having overlapping taste with a Proper Connoisseur (this almost never happens to me as I'm wired to be Scandalously, Unapologetically Lowbrow). Also, found that my experience of the exhibition lined up very closely to LC's main point, which is that the story rather overwhelms the art. [I can't comment on the observation that lesser works are chosen to represent the artists in qu, due to being unfamiliar with the full oeuvre of the women in general, which might possibly be because they're not well known but is certainly also to do with my being SUL, as outlined above.]

This is the closing extract from LC's review, link also provided:

Only rarely do women’s art and women’s history spark together in this show. You see it in Ethel Wright’s fabulous 1912 portrait of the suffragette Una Dugdale Duval, in an arsenical green dress beneath a wallpaper of ludicrous fighting cocks, where Wright’s modern bravado exactly meets that of her sitter. And you see it in Gwen John’s immortal 1902 self-portrait*, small and distanced, light catching her eyelashes in an atmosphere of hushed stillness, so direct and yet so self-contained: the momentous assertion of reticence. That epochal image appears on the exhibition posters, perhaps promising too much. [*AND the self portrait in qu is the landing page image so should be visible in the exhibition link (??).]

For even the best of the artists here are occasionally represented by the least of their works, quite apart from the mystifying omissions.

The theme of Now You See Us is undoubtedly riveting.

The captions (and the excellent catalogue) are superbly written. But art is trumped by social history too often in this show, words overshadowing images.

Not entirely coincidentally, this is the fictional (hero/person) who also came to mind as I considered Una Dugdale's portait - The Expanse's uber politician and genuine badass, Chrisjen Avasarala, as portrayed in the TV series by Shohreh Aghdashloo:

[I googled to check how to spell the name and found this thread on Reddit, which if the link works, caught my attention because it made a pretty much immediate link between CA and her use of fashion, including one contributor referencing the following snip of dialogue:

"How'd she look?" // "Fine." // "No, I mean what was she wearing?" ]

Read via the following online profile that Una also bought a second portrait from Ethel Wright and that this is in the National Portrait Gallery. The bio where this is mentioned doesn't reference the Wright portrait of Una herself, which is a shame bcz IMO it's notably better.

Mind you, having looked up Una Duval (her married name), turns out that the family has held onto the portrait (theirs is the "private collection" mentioned in the attribution) and gave away the OTHER one and 100% that's the decision I would also have made.

[Perhaps it's hard to make a "charismatic leader" look like a real human being when presumably the point of the image is to make her look like a divine messenger of some kind, her message blessed.]

This is an extract (link to full bio follows).

Quote

"-"  Una Dugdale when asked if she promised to obey her husband.

On 13 January, 1912, Una married Victor Duval at the Savoy Chapel. She scandalised society by refusing to include the word obey in her vows. She was advised that if she did not, the marriage would not be legal. However, at the wedding, she did not repeat obey after the clergyman spoke.  He said that he hoped there would be an amended form of the service created.  The Mirror ran the headline, ‘The Bride Who would Not Promise to Obey.’

Una’s husband set up the Men’s Political Union for Women’s Enfranchisement. Una wrote about her wedding in a pamphlet ‘To love, honour, but not obey.’

Una planted an Araucaria Imbricata on 7 February 1911.

Later Life

After the First World War Una brought up her two daughters. She was a co-founder and treasurer of the Suffragette Fellowship, an organisation to preserve the memory of the militant suffrage struggle. Una also bought a full length portrait of Christabel Pankhurst by Ethel Wright, which she later gave to the National Portrait Gallery. [Looks like the gift is attributed to a later descendent - it wasn't given to the NPG until 2011 - a death duty deal perhaps?]

Una died in St Stephen's Hospital, Chelsea, London, on 24 February 1975.

[damnedrainbows]

I don’t know if I ever posted Allette’s human form, but god I love her

[artkreator]

Kunstillustration Pablo Ruiz Picasso war ein spanischer Maler, Bildhauer, Grafiker, Keramiker und Theaterdesigner, der die meiste Zeit seines Lebens in Frankreich verbrachte. WPAP ist ein vom Kubismus inspirierter Stil der geometrischen Pop-Art, der seit einiger Zeit im Internet kursiert. Wedha's Pop Art Portraits, kurz WPAP, wurden in den späten 1990er Jahren von dem indonesischen Künstler Wedha Abdul Rasyid populär gemacht und sind leicht an ihren scharfen Linien und wilden, leuchtenden Farben zu erkennen.

......................................PrintlerArt HeroesArtmajeur Gallery

[aestusart]

Work in progress … Started sketching out new piece. #womenartists #art #artist #artgallery #fineart #fineartist #gallery #artcurator #expressionism #symbolism #soulfulart #abstractrealism #galleries #instagram #abstractpainting #lesbianartist #contemporaryart #modernart #spirituality #galleryarts #acrylicpainting #portait #Rosaria_Vigorito #abstractrealism #femalepainter #spiritualartist #abstractionart #abstractportrait #artcollectorsanddealors https://www.instagram.com/p/CqE5AxlO5An/?igshid=NGJjMDIxMWI=

[aitransformer]

aiTransformer Super Stylizer: Portait of a women, arte povera

Check out more images in the aiTransformer (https://aitransformer.net/Gallery)

[liberty1776]

Zoe Mozert was born Alice Adelaide Moser on April 27, 1907 in Colorado Springs, Colorado. Her father was Fred William Moser, a mechanical engineer of German ancestry. The family name had orignally been Motzar, but that was changed to Moser when her grandfather emigrated to America. Her mother was Jessie Mable Hatfield of Ohio. Her parents married in 1906 and she was their first child.

From 1925 to 1928 she studied at the Philadelphia Museum School of Industrial Art, where she took advanced classes with Thorton Oakley in 1927 and 1928. The future pulp artist, H. J. Ward, was also a student in that same class. She paid for her tuition by modeling at the school. She most likely also posed for H. J. Ward, several of whose paintings from this time period portray a woman with strikingly similar features. She began her career as an artist in 1927, while working for the Pittsburgh Plate Glass Company. She soon began her own window display business.

In 1932 she moved to New York City to look for entry-level freelance work in the magazine industry. Her first illustration jobs were for Bernarr Macfadden's True Story. At this time she adopted a professional name, "Zoe Mozert." According to the artist, "I looked through a name dictionary for a new first name and when there were finally no pages left I settled on Zoe."

In 1933 she won a scholarship in a talent contest to study at the Art Students League.

From 1934 to 1937 she created many sensual and glamourous covers for pulp magazines, such as Smart Love Stories, Love Revels, and Night Life Tales. Fawcett Publications hired her to work full time as a staff artist on True Confessions, but at the same time she also worked in her free time as a freelance artist. In this way her work appeared in a wide range of glamour magazines, such as American Weekly, Romantic Movie Stories, Romantic Stories, and Screen Stories.

She was soon a prosperous and busy illustrator, who had grown beyond the low-paying pulp magazine industry. On Janury 9th 1937 she rented a nicer apartment at 29 West 12th Street in the fashionably artistic Greenwich Village section of Manhattan. By 1937 her unique style of illustration was so central to the ideal of Hollywood glamour that she was hired by Paramount Pictures to create the movie poster for the film, True Confession, starring Carole Lombard.

She also illustrated advertisements for such products as Dr. Pepper, Kool Cigarettes, Irresistible Beauty Aids, Mentolatum, and Raleigh Cigarettes. Many of these advertisements featured her distinctive pastel portraits of famous movie stars as product endorsements.

She also worked as an art adviser and painter with Warner Brothers in Hollywood. She created many artworks that were used as props within films, such as Never Say Goodbye starring Errol Flynn, and Calendar Girl starring Patricia O'Neil. She also painted the controversial movie poster of Jane Russell for the classic Howard Hughes film, The Outlaw.

In 1978 she retired to Sedona, Arizona, where she lived outside of town on Schnebly Hill Road, She continued to create pastel drawings and portaits, which were sold in fine art galleries.

Zoe Mozert - "Beauty by Night" - 1946 Calendar Illustration - Brown & Bigelow Calendar Co.