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laurajg.bsky.social
Laura JG
@laurajg.bsky.social
600 followers 170 following 980 posts
Artist, art history, deconstructing. The banner is one of my artworks, created on my iPad using the Sketch Club app, with my Apple Pencil in hand. http://laurajeannegrimes.com
laurajeannegrimes.com
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 4h
A Must See exhibit at the Metropolitan Museum of Art in New York.
www.amny.com/news/john-wi...
John Wilson at The Met: Witnessing humanity and defying erasure through his canvas | amNewYork
John Wilson’s name first appeared to me as an apparition — my father’s name, my beloved father, who stood as a defiant beam of light against the suffocating
www.amny.com
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 5h
I honor your vulnerability as you walk this difficult path 🙏🏼
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Reposted by Laura JG
strandjunker.com
Andrea Junker @strandjunker.com · 6h
“I never understood the idea that you’re supposed to mellow as you get older. Slowing down isn’t something I relate to at all. — I’ve done all kinds of things I said I wouldn’t do and, of course, now I’m glad. Thrilled.”

R.I.P. Diane Keaton, what a legend. 🕊️💫
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 7h
By Suzanne van Damme (1901-1986), La Couleur Assiégée (The Besieged Color), 1947, oil on panel, 222 x 120 cm, photo: 15 September 2015 Sotheby’s New York. More on the artist in ALT. #arthistory #womenartists #womanartist #painting #oilpainting
A woman wearing a dress, but instead of being made of cloth, it is made of many, many objects, some unidentifiable. In the background we see a satellite. From RAW Modern: “Suzanne van Damme was born in Ghent and studied art at the Académies royales des beaux-arts at Gand and in Brussels. She admired the work of James Ensor, whose portrait she painted in 1925. In the early 1930's, Van Damme moved to Paris where she met the italian painter and poet Bruno Capacci, who became her husband. In 1941 she came into contact with the Surrealists, including Marcel Duchamp, Jean Cocteau and André Breton, who exerted a profound influence over her work.”
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 2d
That’s awesome!
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 2d
That’s just horrifying.
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 2d
Jeanne d'Arc (Joan of Arc), 1921, by Céline Lepage (1882–1928), chryselephantine, bronze with golden patina on a marble base, 48.5 cm, collection of RAW Modern. #arthistory #womenartists #womanartist #Art
From Art UK: “Joan of Arc was a significant figure in fifteenth-century French history for claiming divine visions guiding her to save France and the reign of Charles VII at Reims during the Hundred Years’ War. The artist portrays Joan of Arc in chryselephantine – a technique blending gold and ivory – highly esteemed in ancient Greece and often used to represent deities and significant religious figures. This choice not only aligns with Jeanne d’Arc’s symbolism but also elevates her to a divine status, emphasising the significance of the medium over Lepage’s usual preference for bronze. Thus, the sculpture embodies themes of courage, and faith, symbolising bravery, devotion, and nationalism. The depiction of Jeanne wielding a sword accentuates her revered status, akin to a deity.“
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 3d
Your art history post for today: by Eileen Agar (1899-1991), Harlequin, 1968, oil on canvas, 50 1⁄4 x 40in. (127.5 x 101.5cm.), photo: Christie’s London, March 2, 2022. More in ALT. #arthistory #womanartist #womenartists #Art
First, a quote from the artist: “Life’s meaning is lost without the spirit of play. In play all that is lovely and soaring in the human spirit strives to find expression. In play the mind is prepared to enter a world where different rules apply, to be free.” Now, my description: An abstract depiction of a Harlequin with two faces in profile. Very colorful and patterned. On one arm we see a bird, perhaps a parrot.
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 4d
Quote: “The exhibition, titled “Before the Americas”, is an art historical survey tracing the work of Afro-Latino, Caribbean, and African American artists who have lived and worked in the Greater Washington area… “
www.artnews.com/art-news/new...
Exhibition Canceled By Trump’s DEI Ban Opens at George Mason University
"Before the Americas" is an art historical survey tracing the work of Afro-Latino, Caribbean, and African American artists.
www.artnews.com
laurajg.bsky.social
Laura JG @laurajg.bsky.social · 4d
By Helen Lundeberg (1908-1999), Double Portrait of the Artist in Time, 1935, oil on fiberboard, 47 3⁄4 x 40 in. (121.3 x 101.6 cm.), Smithsonian American Art Museum. #arthistory #womenartists #womanartist #painting #oilpainting
From the museum: ‘In Double Portrait, Helen Lundeberg incorporated different figures and objects to symbolize the stages of her life. The time on the clock represents the child’s age of two and a quarter, and the blank paper suggests her unknown future. She holds a flower bud to emphasize her undeveloped state, whereas the adult figure holds a blooming flower to show that she has experienced sex and love. Lundeberg connected the young girl to the grown woman with a shadow to suggest that the two parts of her life are “psychologically bridged.” The subdued tones and flat colors create a mysterious world where the shadow hovers like a ghost over the shoulders of both figures.’
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 4d
Here is abother work on the same theme by the artist. Marion Elizabeth Adnams (1898-1995), L’infante égarée (The Lost Infanta), 1944, Manchester Art Gallery, Manchester, UK. #arthistory #womenartists #womanartist #painting
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 5d
Alter Ego, 1945, by Marion Adnams (1898-1995), oil on panel, 53.3x43.2 cm, © Derby Museums and Artist’s Estate. She never explained her paintings, letting them stand for themselves. #arthistory #painting #oilpainting #womenartists #womanartist
On the left, a large standing bird skeleton (or dinosaur). On the right, what may be a cut-out of a woman wearing a dress that looks to be made of folded paper and a hat with either paper curls or ribbons.
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 6d
You are sweetly enchanting, as always. Here’s me. Sunday selfie. Shot with my iPhone 15 Pro Max. Edited in Hipstamatic (Jack London lens/DC film/Apollo lens). #iphonography #iphoneonly #instagram #selfportraitsunday #hipstamatic
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 6d
Yes. 🙏🏼
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 6d
I am so very sorry you have to live this reality. It sucks. 😥
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 6d
My sketch for today: Cassandra is Early for Halloween, drawn freehand (with the exception of the spiderweb motif, which was a brush on the app), on my iPad Pro using the SketchClub app. Based on a photo reference provided by the subject. #digitalart #ipadart #artapp #drawingapp
A woman dressed in a black catsuit with the bones of a skeleton printed on it.
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 6d
By Valentine Hugo (1887-1968), Portrait d'Arthur Rimbaud, 1933, oil on panel with rhinestones and collage, 100 x 75cm (39 3/8 x 29 1/2in), photo: Bonhams London, March 8, 2022. More in ALT #arthistory #Art #womanartist #womenartists
From the website: “In the present work, the poet's face emerges from the dark in the lower centre, below two birds that seem to emanate from his mind. One is an eagle, whose feathers blend into Rimbaud's hair and end in sharp blades. These are covered in red, green, white, and black droplets, showing Valentine Hugo's masterful draughtsmanship and her eye for detail. The other bird is white, resembling a swan, but with red feathers. The two birds intertwine in a fight, in which the eagle seems to protect Rimbaud from the sharp beak of the white bird. Five crows, which are a notorious harbinger of death in Rimbaud's poetry The Crows (Les Corbeaux) (1871), are hidden in the white bird's feathers. Nevertheless, this white bird of ill omen crowns Rimbaud with a laurel wreath, a symbolic attribute given to poets. The glory of the poet comes at a price however: one of the thorns pierces Rimbaud's forehead and causes glistening blood to drip from the wound. The blood stains his lips with red, which contributes to the poet's androgynous appearance… In Portrait d'Arthur Rimbaud the poet's face floats in murky, green water populated by strange sea creatures. A flat sea urchin lies on the foreground, and another spiny sea urchin hides behind the poet's right ear. The latter opens to reveal a soft, slimy, dripping interior surrounded by tentacles.”
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 7d
If you would like to try a 10-minute meditation on this work, here is a link: www.nytimes.com/interactive/...
10-Minute Challenge: A Surrealist Scene by Gertrude Abercrombie
We’d like you to look at one piece of art for 10 minutes, uninterrupted.
www.nytimes.com
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 7d
By Gertrude Abercrombie (1909-1977), “Where or When (Things Past),” 1948, oil on canvas, 21 1/2 x 35 1/2 in., Madison Museum of Contemporary Art, Wisconsin. #arthistory #womanartist #womenartists #Art #painting #oilpainting
First, a quote from the artist, in an interview with Studs Terkel: ‘I wrote to my alumni association who wanted to know, had I done anything. I said, “Yes indeed, I have done something.” I wrote to them that I’ll go out either in a blizzard or in a blaze of glory.’ Now, my description of the painting: A woman in a long short sleeved salmon-colored dress stands in the middle of a dark room. She holds a long string behind her back, one end attached to the collar on a cat, the other to an object the shape of a traffic come, kind of a dull brass color. A painting of a running horse in a dark landscape that includes a bare-branched tree hangs on the wall. There is a small circular table with a white (marble?) top beside the woman. At the left background, tall double doors with doorknobs. On the far left wall, a blank sheet of paper seems to be tacked up.“
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 8d
Been there, done that!
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 8d
For more on the artist, see: www.guggenheim-venice.it/en/art/artis...
Leonor Fini | Artist | Peggy Guggenheim Collection
www.guggenheim-venice.it
laurajg.bsky.social
Laura JG @laurajg.bsky.social · 8d
By Leonor Fini (1907-1996), “Rogomelec,” 1978, oil on canvas, 49 ¼ x 23 ¾ in. (125 x 60 cm.), photo: Christie’s London, 9 October 2024. More in ALT. #arthistory #womanartist #womenartists #Art
From the lot essay: "Within a barren land stands a king dressed in an elaborate coat of peacock feathers. Light glints off his dazzling crown. He is magisterial, imperious, royalty incarnated in lustrous pigment... ‘I always imagined that I would have a life very different from the one imagined for me, she said, 'but I understood from a very early time that I would have to revolt in order to make that life' (quoted in W. Chadwick, Women Artists and the Surrealist Moment, London, 1985, p. 86). Like her contemporaries, Fini's paintings too seem wrenched from a dream and across her canvases she sought to reconcile the world that she experienced with that of her subconscious mind."
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 9d
By English-Mexican artist Leonora Carrington (1917-1011), Myth of 1,000 Eyes, ca. 1950, oil on board, 4 7/8 x 3¼ in. (12.4 x 8.2 cm.), photo: Christie’s, New York, 29 May 2008. More in ALT. #arthistory #womanartist #womenartists #painting #oilpainting #Art
A hybrid creature, similar to an ermine but with three transparent insectoid wings. Leonora Carrington, was born into a wealthy British family, expected by them to live the respectable genteel life of a woman of means. “Our family weren’t cultured or intellectual – we were the good old bourgeoisie, after all.” Quoted in “Leonora and me“, The Guardian. She refused to live in the box of their expectations. Her cousin Joanna Moorhead: “As far as our relatives were concerned, she was deficient, disloyal and dangerous. She was an impossible creature, a wild child, an unfathomable puzzle of a girl; a young woman who refused to be tamed and who eventually, when she had wreaked more havoc than any family could reasonably be expected to bear, simply flounced off into the sunset.” ~ “My ‘wild child’ cousin, the surrealist painter Leonora Carrington,” The Guardian, 25 March 2017.
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 10d
October art history theme: very loosely, Halloween. Today: by Remedios Varo (1908-1963), La llamada (The Call), 1961, oil on Masonite, 42 x 31 in., © 2023 Remedios Varo/Artists Rights Society, National Museum of Women in the Arts. More in ALT. #arthistory #womanartist #womenartists #surrealism
From the website: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
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laurajg.bsky.social
Laura JG @laurajg.bsky.social · 11d
My 2 year old granddaughter informed me that “You not old! You Grandma!” But when I told my 4 year old grandson that I have a doctor appointment tomorrow, he advised, “Tell him you’re old, and he will tell you to eat your veggie-bles.” So, I’m getting mixed messages today. 😉 #grandchildren #elderly