Day 2407 #ArtKicksCovid19 "Profile Portrait of a Lady" (1490) Giovanni Ambrogio de Predis. Biblioteca Ambrosiana Milan. The delicate modelling of this elegant young woman’s face, elaborate hairstyle and richly decorated clothing reflect the refinement of the Milanese court in the late 15th century,

Day 2406 #ArtKicksCovid19 “Exotic Garden" (1926) Paul Klee. Private Collection. Painted during Klee's influential tenure teaching at the Bauhaus in Dessau, this oil-on-canvas represents his fascination with the unseen mechanisms, rhythms, and structural laws of nature.

Smiling at #goodmedicine posts from @storyclare.bsky.social this morning reminds me that #ArtKicksCovid19 from @ciaraquill.bsky.social
#DailyPhoto #PictiúrAnLae from @darylfeehely.com &
#DailyCMAT @jimmacmillan.com bring a smile to my feed.

Which hashtags are your great timeline cleansers ?

Day 2405 #ArtKicksCovid19 "The Window" (1870) Eva Gonzalès. Denver Art Museum. In 1865 aged 16, Gonzalès began training in Paris with prominent portraitist Charles Chaplin, who ran a studio for women. During this time, women had to seek private instruction or become self-taught,

Day 2404 #ArtKicksCovid19 “Portrait of a Man” (1646) Michaelina Wautier. Royal Museums of Fine Arts of Belgium, Brussels. In this painting, Wautier demonstrates the remarkable psychological and technical assurance that distinguishes her portraiture. The unidentified sitter is presented

Day 2403 #ArtKicksCovid19 Watermelons (1957) Diego Rivera. Museo Dolores Olmedo. This is among the last works completed by Rivera before his death. The composition is deceptively simple: slices of watermelon fill the canvas, their vivid red flesh and dark green rinds arranged in a bold display.

Day 2402 #ArtKicksCovid19 "Untitled XI” (1975) Willem de Kooning. The Art Institute of Chicago. De Kooning was known for emotive, gestural canvases that transcended conventional definitions of figuration and abstraction. In the late 1960s and early 1970s, he turned his attention away from painting,

Day 2401 #ArtKicksCovid19 "Portrait of Doge Andrea Gritti" (1550) Titian. National Gallery of Art, Washington D.C. This work is regarded as one of the finest of all Titian’s portraits. Doge Andrea Gritti’s ferocious expression and imposing figure convey an inspiring authority.

Day 2399 #ArtKicksCovid19 "The Painter's Palette and a Vase of Wildflowers" (1882) Berta Wegmann Hirschsprung Collection. Wegmann transforms the tools and surroundings of the artist’s studio into an intimate still life. The palette, marked with daubs of pigment, functions almost as a portrait

Day 2398 #ArtKicksCovid19 "Sea and Sky" (1907) Rafael Martínez Padilla. Fundación Banco Santander. The Spanish artist captures the atmospheric beauty of the Catalan coast in a composition dominated by the meeting of water and sky. A broad horizon, rocky shoreline and softly shifting palette

Day 2397 #ArtKicksCovid19 “Der Sumpf (The Swamp)” (1900) Gustav Klimt. Private Collection. Painted during a transitional and pivotal moment in Klimt's career - just as he stepped back from official state commissions following the fierce public debates over his University of Vienna faculty paintings

Day 2396 #ArtKicksCovid19 “Insects and a Sprig of Rosemary” (1653) Jan van Kessel the Elder. National Gallery of Art, Washington DC. This work exemplifies the highly detailed insect and still-life studies that became distinctive within 17th century Flemish art.

Day 2395 #ArtKicksCovid19 "Charlus" (1971) Gérard Schlosser. Private Collection. Born in Lille, Schlosser became a major pioneer of the Narrative Figuration movement in France during the 1960s and 1970s. His signature style involved utilising photography, a photomontage process and an episcope

Day 2394 #ArtKicksCovid19 “Maturity" (1910) Gustave Van De Woestijne. Van Buuren Museum. In this evocative composition, the Belgian artist bridges the linear style of the Flemish Primitives with the psychological weight of modern European Symbolism.

Day 2393 #ArtKicksCovid19 "Still Life with a Lemon and Pink Roses" (c. 1650) Cornelis Kick. Ashmolean Museum. Cornelis Kick was an Amsterdam-born painter trained initially by his father, Simon Kick. While his father focused on civic portraits, Cornelis was deeply inspired by masters

Day 2392 #ArtKicksCovid19 "Alice Helleu en robe blanche" (1902) Paul-César Helleu. Musée Bonnat-Helleu, Bayonne. This painting exemplifies the formal portrait conventions of the Belle Époque era. Hellu depicts his wife and primary model, Alice Guérin.

Day 2391 #ArtKicksCovid19 "The River" (1897) Fritz Thaulow. Bradford Museums and Galleries. This work by Norwegian artist Thaulow demonstrates his ability to capture the complex, liquid mechanics of moving water. Rather than employing uniform tones, he depicts the river using strokes of turquoise,

Day 2390 #ArtKicksCovid19 “Green Likes Mauve” (1970) Helen Frankenthaler. National Gallery of Art Washington DC. This is a brilliant testament to the lyrical, fluid abstraction that defined the second generation of Abstract Expressionists and Color Field pioneers.

Day 2389 #ArtKicksCovid19 "The Calling of St. Matthew" (1600) Caravaggio. Caravaggio was born on this day in 1571. I saw this work in the flesh while visiting Rome back in 2023. Housed in Rome's Church of San Luigi dei Francesi, the oil painting captures the exact moment

Day 2388 #ArtKicksCovid19 "Ophelia" (1870) Pierre Auguste Cot. Private Collection. Shakespeare’s heroine is depicted standing and reading from a book. The composition departs from the more familiar 19th-century representations of Ophelia associated with her madness or death,