Lightnews — Scholar-powered news

@brindusab1.bsky.social

210 followers 200 following 1.3K posts

Posts Media Videos Starter Packs

Pinned

brindusab1.bsky.social @brindusab1.bsky.social · Feb 4

🕊Peaceful Tuesday🕊

" ... what thrills me about trains is not their size or their equipment but the fact that they are moving, that they embody a connection between underneath places."
Marianne Wiggins

René Groebli b 1927 📷
Rail Magic Series
#PhotographyIsArt
🚂🚃🚃#TrainLovers🚃🚃🚂

6 14 90

Reposted

Anna Saba©️ @annasaba78.bsky.social · 2d

I nipoti sono partiti, ecco,
con degli algoritmi. Noi
guardiamo la pioggerellina
quella delle poesie.

Tiziano Rossi Il brusío
Einaudi Ed.
#PremioStregaPoesia2025

La realtà è un immenso coro, stonato, e c’è anche il brusío…

🎨 Ruggero Salvatore, Alone

3 21 41

Reposted

Klaus Herdepe @klausherdepe.bsky.social · 2d

Guten Morgen!
Manuel Ortiz de Zárate, * 9.10.1887 in Como; † 28. Oktober 1946 in Los Angeles, war ein chilenischer Maler 🎨 🇨🇱
Stillleben mit Pfeife, 1920 🖼️
#OTD #ArtHistory #BskyArt #History #Stilllife

4 14 35

Reposted

Klaus Herdepe @klausherdepe.bsky.social · 1d

Guten Morgen!
Paul Cézanne (1839–1906) 🎨 🇫🇷
Stillleben mit Blumen in einem Olivenkrug, ca. 1880 🖼️
Philadelphia Art Museum 🏛️
#FlowerFriday #ArtHistory #Stilllife #Impressionism #BskyArt #Museum

Stillleben mit bunten Astern und Chrysanthemen in einem Olivenkrug

9 13 54

Reposted

Klaus Herdepe @klausherdepe.bsky.social · 19h

Double portrait of two French Rococo ladies 🖼️
#AiArt #AiArtCommunity #QP #QuotePost #Pastel

1 3 14

Reposted

Klaus Herdepe @klausherdepe.bsky.social · 4h

Guten Morgen!
John Collier (1850–1934) 🇬🇧 🎨
Nettie und Joyce mit einer Katze, ca. 1890 🖼️😸
#Caturday #ArtHistory #PortraitPainting #PeopleWithCats #BskyArt #History

Das Bild zeigt eine brünette Frau mit kurzen Haaren in einem rosafarbenen langen Kleid mit silbernen Schuhen, die nachdenklich von einem türkisfarbenen Kissen gestützt in einem Schaukelstuhl sitzt auf der rechten Körperhälfte eine kleine weiß-schwarze Katze halten und auf ihrem Schoß sitzt ein etwa zehnjähriges Mädchen im weißen sonntagskleid weißen Strümpfen und schwarzen Schuhen nachdenklich zusammen: der Hintergrund, die Frau ist Ethel, die zweite Frau des Künstlers, gleichzeitig die Tante des auf ihrem Schoß sitzenden Mädchens. Die erste Frau des Malers war nach Depressionen und einer Behandlung an einer Lungenentzündung gestorben.

8 15 39

Reposted

Esther Parra Valle @bettyblueaesztia.bsky.social · 23h

Como el dolor que me atraviesa
con sus crines mordidas
por el fuego.

Con el infinito miedo
de mis noches
poblándose de monstruos.

Como mi impulso frenético
de golpear o besar,

y a veces recogida
como un murmullo al sol
y a veces abandonada
y a veces
abandonada y quieta
como la certeza del amor.

1 7

Reposted

Esther Parra Valle @bettyblueaesztia.bsky.social · 22h

Me dieron un puñado
de rosas
a la hora
del ánfora
en la comba rupestre
del estío.
Y debo hacer una mujer
con él
y no sé cómo.

Me dieron un arrullo
torcaz
en el ocaso
con rudos cazadores
debajo
de sus alas
Y debo hacer una mujer
con él
y no sé cómo.

Me dieron un remanso.

Hora del vermut

1 1 8

Reposted

Esther Parra Valle @bettyblueaesztia.bsky.social · 15h

Ya no vibra mi carne en

paraísos

Ni en infiernos

Ni en manzanas

Serpientes

Ni en exilios

Buenas noches

🖌️Sandor ZIFFER
(Autorretrato)

1 1 11

Reposted

Michael @mdstamper.bsky.social · 2d

“To Tell Them There It’s Got To” by Lynette Yiadom-Boakye (British) – Oil on canvas / 2013 – The Box (Plymouth, England) #WomenInArt #WomenArtists #WomensArt #FemalePainter #LynetteYiadom-Boakye #Yiadom-Boakye #TheBox #art #artText #artwork #blueskyArt #BlackWoman #OilPainting #WomenPaintingWomen

9 69

Reposted

Michael @mdstamper.bsky.social · 1d

“Sophie Crouzet” by Louis Hersent (French) – Oil on canvas / c. 1801 – The Cleveland Museum of Art (Ohio) #WomenInArt #PortraitofaWoman #Neoclassical #Enlightenment #BlueskyArt #neoclassicism #FrenchArt #FrenchArtist #oilpainting #art #artText #artwork #ClevelandMuseumofArt #LouisHersent #Hersent

In this luminous Neoclassical portrait by French artist Louis Hersent, a young woman with warm pale skin and softly waved brown hair is shown seated at a desk against a white wall backdrop. She turns to meet our gaze with poise and calm intelligence. She wears a high-waisted white muslin gown with short sleeves and a Grecian drape, the delicate fabric gathered beneath the bust. Her bare arms and neckline glow in the diffused light, revealing a natural warmth rather than idealized pallor. The subtle transparency of her gown, rendered in fine brushwork, contrasts with the subdued shadow behind her. The artist’s attention to her thoughtful expression and gentle posture, holding a paper, conveys dignity, intellect, and a sense of self-possession. Hersent’s smooth handling of tone and texture exemplifies early 19th-century French precision, with human presence expressed through restraint and grace.

Painted around 1801, “Sophie Crouzet” reflects the rise of virtue and simplicity as moral ideals after the French Revolution. The sitter’s Roman-inspired dress (a “robe à la grecque”) symbolized democratic purity, aligning women with civic virtue. The muslin’s gauzy lightness echoed Enlightenment notions of transparency and natural reason, while the white hue suggested moral integrity. Hersent, a pupil of Jacques-Louis David, merged neoclassical rigor with intimate human warmth, distancing his work from David’s stern heroics.

The sitter, Sophie Crouzet, remains a partially mysterious figure. She likely belonged to a bourgeois family sympathetic to revolutionary ideals, perhaps from southern France, where the Crouzet name appears among reformers. Despite her limited biography, the painting’s style and symbolism align her with a generation of educated women who adopted Greco-Roman dress to express civic virtue and intellectual equality. It was possibly commissioned to celebrate Sophie’s youth or marriage, marking her as both fashionable and virtuous in Napoleonic society.

6 44

Reposted

Michael @mdstamper.bsky.social · 1d

Portrait of Trude Engel by Egon Schiele (Austrian) - Oil on canvas / c. 1912 - Lentos Kunstmuseum (Linz, Austria) #WomenInArt #art #artText #artwork #EgonSchiele #Schiele #AustrianArtist #AustrianArt #oilpainting #PortraitofaWoman #LentosKunstmuseum #BlueskyArt #VienneseExpressionist #Expressionism

A young woman stands facing us within a shallow, flattened space. Her wavy long, dark brown hair falls loose past her shoulders; her skin is light, with a faint rose warmth at the cheeks. She wears a modest, long-sleeved dress with a high neckline. Its folds are indicated by taut, economical brushstrokes rather than soft volume. She is framed by a reddish, triangular field that rises like an apex behind her head and shoulders, set against earthy browns and oranges.

Austrian artist Egon Schiele’s contour lines are sharp and irregular, darkly encircling her arms, jaw, and collar. Her gaze is direct and steady though a little guarded with her lips closed. Whether she stands or sits is intentionally ambiguous.

Trude Engel was the daughter of Schiele’s Viennese dentist; the portrait grew from that relationship and an arrangement that exchanged treatment for art. Later technical study revealed an earlier composition beneath the paint: an allegorical figure with a skull-like head, aligning with Schiele’s recurring themes of life and death. Family correspondence recounts that, as a teenager, Trude slashed the canvas in anger; the repairs remain part of the work’s material history and can be seen. Painted as both Schiele’s reputation and controversy rose, the image condenses his radical portrait language: incisive line, compressed space, and psychological charge. The triangular, mantle-like field behind Trude reads as both halo and warning sign, intensifying her composed yet uneasy presence.

In 1912 Schiele was jailed briefly, an ordeal that sharpened his sense of human vulnerability; in his prison drawings he simply wrote, “I am human,” a sentiment that resonates in Trude’s unsentimental, searching gaze that is less a likeness than a revelation of being.

4 42

Reposted

Michael @mdstamper.bsky.social · 11h

Le Retour de la mer (Return from the Sea) by Félix Vallotton (Swiss-French) – Oil on canvas / 1924 – Musée d’Art et d’Histoire de Genève (Switzerland) #WomenInArt #LesNabis #Post-Impressionism #BlueskyArt #FélixVallotton #FelixVallotton #Vallotton #art #artText #1920s #Muséed’Artetd’HistoiredeGenève

Painted in 1924, near the end of Swiss-French artist Félix Vallotton’s life, this “simili-portrait” belongs to a series in which he sought to “represent human types rather than individuals,” using unnamed sitters to test contrasts of color, texture, and form. Here, a "modern woman" of the 1920s with short hair, cosmetics, and off-the-shoulder loose dress becomes an emblem, not a likeness.

She sits close to the picture plane, cropped below the waist, her body turned slightly as if pausing while reading to look directly at us. Her eyes are almond-shaped and heavy-lidded, edged with subtle eyeliner and neat, arched brows as their dark irises glint small highlights. A sea-blue satin dress slips off one shoulder while matching blue drapery gathers at her forearm, setting up a play of reveal and conceal. Her bobbed dark hair frames a made-up face as her skin appears sun-warmed against a flat, warm background that keeps all attention on the figure. Edges are crisp, volumes simplified, and the silk fabric come across as cool planes of color rather than rippling folds. There is no ocean yet the title suggests briny air and a recent shore, an atmosphere echoed by the dress’s blue and the model’s poised, modern self-possession. The scene is quiet, frontal, and deliberately anonymous.

The cool detachment of Vallotton’s late style, often summarized as “fire beneath the ice,” is everywhere: sensual shoulder and satin are offset by an implacable stillness and exacting contour. Geneva’s museum lists an earlier title, Femme à la draperie bleue, underscoring how fabric and hue carry the picture’s meaning. Acquired in 1929, the work was featured in the major retrospective "Vallotton. Le feu sous la glace" (Grand Palais, Van Gogh Museum, Mitsubishi Ichigokan), reaffirming how these distilled “types” compress symbol, fashion, and psychology into a single, unforgettable pose.

6 39

Reposted

Michael @mdstamper.bsky.social · 6h

“The Green Sari” by Irma Stern (South African) – Oil on canvas / 1936 – Irma Stern Museum (Cape Town, South Africa) #WomenInArt #WomanArtist #IrmaStern #WomensArt #WomenPaintingWomen #WomenArtists #SouthAfricanArt #SouthAfricanArtist #BlueskyArt #OilPainting #FemaleArtist #art #artText #artwork

Painted in 1936, this portrait reflects artist Irma Stern’s fascination with the diverse communities of South Africa and her commitment to character over costume. Critics often note her “dignified” portrayals; here, the calm face, lowered eyes, and reed-filled setting suggest poise rather than spectacle. The jewelry and fine sari imply a sitter of some standing, likely from the Indian community established in Natal by the late 19th and early 20th centuries. Stern’s impasto scraped and laid on in quick, directional marks keeps the surface alive, especially in the sari’s creamy folds and the reeds’ vertical energy.

A woman appears against tall, pale-green reeds, her head tilted slightly left, gaze lowered and thoughtful. Her medium-brown skin is modeled with thick, lively strokes. Her eyelids are heavy, almond-shaped, with dark lashes and a soft highlight along the brow. A deep-green sari blouse and a creamy pallu drapes diagonally across her chest, edged with a fine green line. A single red stud earring catches the light while at her neck hangs a pendant with a rosy stone in a gold setting. Her black hair is pulled back into a low knot. The background is a field of vertical, grass-like strokes, echoing the sari’s green and framing her quiet, dignified presence.

Stern once wrote that travel and encounter “opened new doors of color”; even at home, she sought subjects whose presence sparked that chromatic charge. Exhibited as “An Indian Woman” at the Irma Stern Museum in 2020 and later titled “The Green Sari,” the work carries a layered history (it earlier appeared at auction as “Malay Lady in Green”), but Stern’s intent holds steady: to honor a modern woman with individuality and grace. As her reputation grew, Stern balanced local portraits with journeys abroad, refining a palette of greens, yellows, and warm earth tones that became signature in her mature style.

4 33

Reposted

Maria Alves @blue-dreamer953.bsky.social · 16h

From my window, now 🌄📷

2 3 11

Reposted

Maria Alves @blue-dreamer953.bsky.social · 14h

Boa noite,bom fim de semana 🍊🌰💙🙏

5 7

Reposted

Maria Alves @blue-dreamer953.bsky.social · 3h

Bom dia,bom sábado 🙏🌰🍇🍂🍊

1 2 5

Reposted

Anieska @anieska.bsky.social · 22h

A rundown street
New York City, 1984.

1 2

Reposted

Anieska @anieska.bsky.social · 22h

🎨 Diego Rivera
Mexican, (1886–1957)
He married Frida Kahlo in 1929

"Self-Portrait with Broad-Brimmed Hat", 1907.
Museo Dolores Olmedo Patino, Mexico City, Mexico.

#DiegoRivera

1 6

Reposted

Anieska @anieska.bsky.social · 3h

Have a nice weekend 🌸☀️🌷

“The grass of the fields
Releases its fragrance beneath my soles.”
- Masaoka Shiki 1866-1909

🎨 Kawase Hasui,
“Iris” (Ayame), 1929,
Museum of Fine Arts, Boston

3 4

brindusab1.bsky.social @brindusab1.bsky.social · 1h

🕊🍁🕊Peaceful weekend🕊🍁🕊

"Peace begins with a smile."
Mother Teresa

Pablo Abreu 📷
#PhotographyIsArt
#JoieDeVivre

2 4

Reposted

Anieska @anieska.bsky.social · 3h

Happy Caturday 😻

"Cats are the guardians of our silences."
Marcel Ohayon

#caturday #catkovers #cats

2 6

Reposted

Anieska @anieska.bsky.social · 1d

🎨 Franklin Carmichael Canadian, (1890–1945)

"Autumn, Orillia", 1924.
Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada.

1 9

Reposted

Anieska @anieska.bsky.social · 1d

Happy Friday 🌺 🎶

"Music is the perfect expression of an ideal world that would express itself to us through harmony."
✍️ Albert Camus

🎨 "The Concert"
Nicolas de Staël,
his last painting, 1955

#NicolasdeStaël #art

4 11

Reposted

Anieska @anieska.bsky.social · 1d

👨‍🎨 Alberto Giacometti 💜
born October 10, 1901

"Only reality is capable of awakening the eye, of tearing it away from its solitary dream, from its vision, to compel it to the conscious act of seeing, to gaze."

1 3

Reposted

Anieska @anieska.bsky.social · 1d

Orson Welles 🌹🎬
+October 10,1985
actor, director, producer, screenwriter,designer, writer, illusionist

"Only love and friendship can fill the loneliness of our time. Happiness is not everyone's right; it's a daily struggle.
I believe we must know how to experience it when it presents itself to us."

4 8