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@open-art.bsky.socialOct 16, 2026, 2:33 PM

#WilliamMason #Brown #ClevelandMuseumOfArt #19thCenturyArt #OilOnCanvas #StillLife #AmericanArt

@open-art.bsky.socialOct 16, 2026, 10:35 AM

#JohnPeto #Peto #ClevelandMuseumOfArt #19thCenturyArt #OilOnCanvas #TrompeLoeil #AmericanArt

@lronlacy.bsky.socialOct 16, 2026, 8:08 AM

‘After a good job well done - What makes a glass of beer taste so good?’
‘Beer belongs . . .enjoy it.’
United States Brewers Foundation. October 1955.
#illustration #illustrationart #illustrationartists #DouglassCrockwell #AmericanArt #beer #brewers

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@lronlacy.bsky.socialOct 16, 2026, 7:19 AM

‘Steel Industry’ Howard Norton Cook. Mural. Buon fresco. 126 x 209 in. (320 x 530.9 cm). United States Post Office and Courthouse Pittsburgh, Pennsylvania. Treasury Section of Fine Arts. 1936.
#TreasurySectionOfFineArts #TheNewDeal #AmericanArt #HowardNortonCook #Pittsburgh

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@lronlacy.bsky.socialOct 16, 2026, 6:52 AM

‘American Moose’ Boris Gilbertson. Marble relief. 66 x 156 in., 7500 lb. (167.6 x 396.2 cm, 3402 kg). Department of the of Interior Building, Washington DC. Treasury Section of Fine Arts. 1939.
👉ALT
#TreasurySectionOfFineArts #TheNewDeal #AmericanArt #BorisGilbertson

Carol M. Highsmith Photography https://www.gsa.gov/fine-arts#/artwork/503 1.6.21 ‘... To obtain sketches of moose, Gilbertson followed the animals throughout the Minnesota woods and engaged the help of his wife, who was also an artist. Gilbertson aimed to combine an accurate representation of the animals with a decorative nuance consistent with the architecture of the building. Carved by air hammer, this decorative effect is achieved through the stylization of the background elements of sky and grass and also in the linear fur of the animals. Boris Gilbertson was born in 1907 in Evanston, Illinois. He began studying sculpture in 1927 at the Art Institute of Chicago. Gilbertson was a naturalist and focused the majority of his work on animals.’ https://www.gsa.gov/fine-arts#/artwork/18418
@lronlacy.bsky.socialOct 16, 2026, 6:46 AM

had been created. The director, artist #EdwardBrightBruce (1879-1943) had directed the temporary Public Works of Art Project (#PWAP) and also headed the Treasury Relief Art Project (#TRAP).
#TreasurySectionOfFineArts #TheNewDeal #AmericanArt #GeorgeBiddle

‘Society Freed Through Justice’ George Biddle. Fresco. Dept of Justice, Washington DC. Central right panel. 1936. Carol M. Highsmith (1946-) photographer. https://www.loc.gov/item/2010720160/
@dave.feediverse.orgOct 15, 2026, 11:02 PM

William Marshall Cazalet, 1902 #americanart #sargent.

@art.feediverse.orgOct 15, 2026, 11:00 PM

William Marshall Cazalet, 1902 #americanart #sargent

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@acls1919.bsky.socialOct 15, 2026, 8:03 PM

Luce/ACLS Dissertation Fellowship offers up to $43K to support #PhD candidates in #Americanart history at any #dissertation stage. Applications close 10/28 #arthistory #nativeamericanart #fellowships #grants

https://www.acls.org/competitions/luce-acls-dissertation-fellowships-in-american-art/

@patrickkapty.bsky.socialOct 15, 2026, 7:19 PM

#art #popart #floral #design #PeterMax #BigRedFlowers #c2009 #americanart #americanartist

@artofthemale.bsky.socialOct 14, 2026, 10:30 PM

Pond Moonlight — thanks to my friend in New York City for purchasing this iconic American matted art print. Its moonlit calm adds warmth and character to any room—perfect for a living room or office. See it here: buff.ly/ZDL2vcs #AmericanArt #Art

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@dave.feediverse.orgOct 14, 2026, 12:28 PM

Black on Maroon, 1959 #americanart #rothko.

@art.feediverse.orgOct 14, 2026, 12:00 PM

Black on Maroon, 1959 #americanart #rothko

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@soulsgrowndeep.bsky.socialOct 14, 2026, 11:50 AM

🎸 #OnThisDay in 1926, James “Son Ford” Thomas (1926–1993) was born in Eden, Mississippi.
A celebrated Delta bluesman and sculptor, Thomas worked in clay to create animals, coffins, skulls, heads, and portraits, drawing on the “gumbo” clay of his region.
#JamesSonFordThomas #BlackArt #AmericanArt

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@lronlacy.bsky.socialOct 14, 2026, 8:00 AM

#AUTUMN at #Taos & the #PublicWorksOfArtProject (PWAP)
‘Fall in the Foothills’
W. Herbert Dunton (1878-1936)
Oil on canvas #SmithsonianAmericanArtMuseum (from the U.S. National Park Service) 1934
#AmericanArt #WHerbertDunton #TheNewDeal #PWAP #AmericanArt #autumncolors

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@lronlacy.bsky.socialOct 14, 2026, 7:13 AM

#AUTUMN
‘In the Canoe’ Phillip R. Goodwin (1882-1935). N.D.
#PhillipRGoodwin #PhillipGoodwin #AmericanArt #autumncolors #canoe #hunting

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@mdstamper.bsky.socialOct 14, 2026, 4:39 AM

“Standing Girl with Folded Hands” by Raphael Soyer (American, Born in Russia) – Oil on canvas / 1968 – Allen Memorial Art Museum (Oberlin, Ohio) #WomenInArt #RaphaelSoyer #soyer #AllenMemorialArtMuseum #art #artText #arte #AmericanArt #PortraitofaGirl #FigurativeArt #1960sArt #PortraitofaWoman

American artist Raphael Soyer was born in Borisoglebsk in the Russian Empire in 1899 and immigrated to the United States with his family in 1912. He studied in New York at Cooper Union, the National Academy of Design, and the Art Students League, eventually becoming one of the leading American realist painters of his generation. His subjects were often drawn from everyday urban life like workers, shoppers, artists, friends, and especially women observed in ordinary moments. Even as abstraction came to dominate postwar New York, the artist remained committed to the human figure. Soyer gives this young woman almost nothing to do except stand quietly with her hands folded before her. Her narrow figure fills the vertical canvas, while the surrounding space remains spare and indistinct. One arm crosses toward the other at her waist, concentrating attention on the small, closed gesture of her hands. Her clothing is far from theatrical, and Soyer avoids accessories or a detailed setting that might turn her into a social type. Instead, the painting depends on posture, expression, and presence. Painted in 1968, “Standing Girl with Folded Hands” reflects that persistence. The woman does not perform for us or offer an obvious story. Her folded hands may suggest reserve, patience, uncertainty, or simply the natural stillness of posing, but Soyer leaves the meaning open. The muted setting and restrained composition keep our attention on the subtle relationship between her face, body, and gesture. That restraint gives the young woman a quiet dignity. She is visible without being made into a spectacle, and her closed posture preserves a sense of privacy even while she is being observed. Rather than defining her through narrative, occupation, or glamour, Soyer asks us to notice an individual presence. The result is characteristic of his realism: intimate, psychologically alert, and grounded in the belief that an ordinary person standing before us can be enough.
@art.feediverse.orgOct 14, 2026, 4:00 AM

Mirror #4, 1970 #americanart #roylichtenstein

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@mdstamper.bsky.socialOct 13, 2026, 5:12 PM

“Swoon at the Water Pump” by Robin F. Williams (American) – Oil on canvas / 2010 – Columbus Museum of Art (Columbus, Ohio) #WomenInArt #RobinFWilliams #RobinWilliams #ColumbusMuseumofArt #art #artText #arte #AmericanArtist #Surrealism #ContemporaryArt #artwork #AmericanArt #2010sArt #SurrealArt

A young woman lies stretched across a blue-green mound of grass beneath a pale, unsettled sky. Her body seems both collapsed and theatrically posed: one arm reaches toward us, the other rests against her chest, while her bare legs extend beside an overturned metal bucket. Behind her rises an old hand pump. Most startling is her dress. Its blue outer shape opens into a pink-red interior of looping, tubular forms—part fabric, part flower, part exposed anatomy. The image is beautiful, comic, vulnerable, and faintly alarming all at once. American artist Robin F. Williams painted “Swoon at the Water Pump” early in a career devoted to unsettling familiar ways of looking at bodies. Williams’s first solo exhibition, “Rescue Party,” presented this painting in 2011 and described a surreal world of adolescents suspended at moments of discovery or change. Here the figure also recalls a long tradition of the swooning woman so a limp wrist, reclining body, exposed throat, flowing dress, and pastoral setting echo older images in which feminine weakness became spectacle. Williams makes those ingredients strange. The woman sprawls across the landscape, enlarged and foreshortened, with undeniable physical presence. A water pump and bucket suggest manual labor within a rural setting, yet nothing is functioning as expected. The bucket has fallen. The woman is down. Her extravagant dress seems to have burst open into a glowing world of flowers. Williams’s smooth modeling and eerie color make the scene feel hallucinatory. Bristling grass surrounds the body, yellow flowers dot the ground, and the sky glows with artificial calm like a stage backdrop. This early-career painting shows the artist questioning gendered expectations. Did the woman “swoon” exhausted, ecstatic, injured, performing, or simply refusing to stand? Williams withholds the answer. What remains is the tension between vulnerability and command of a woman apparently overcome, yet visually dominating the scene.
@lronlacy.bsky.socialOct 13, 2026, 8:45 AM

[Untitled photo, related to: ‘Loading cotton in Natchez, Mississippi’] October 1935
#photography #photographers #blackandwhitephotography #BenShahn #AmericanArt #GreatDepression #cotton #Natchez #Mississippi

Library of Congress Prints and Photographs Division Washington, D.C. (Farm Security Administration - Office of War Information Photograph Collection) https://www.loc.gov/item/2017730262/