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@mdstamper.bsky.socialOct 18, 2026, 8:27 PM

“Self Portrait” by M. Zena Lesser (American) – Oil on panel / – Cape Cod Museum of Art (Dennis, Massachusetts) #WomenInArt #MZenaLesser #CapeCodMuseumofArt #art #artText #arte #WomanArtist #WomensArt #CapeCod #SelfPortrait #CapeCodArt #oilpainting #AmericanArt #AmercanArtist #Lesser #womenartists

“Self Portrait” presents American artist M. Zena Lesser seated with her chin resting on one hand, meeting us with a thoughtful, confident gaze. Her dark hair is swept back, framing expressive eyebrows, dark eyes, and softly colored lips. A light low-cut lavender top crosses her shoulders and chest, with a flash of an orange belt above a loose black skirt. Her other hand rests against her hip, while her legs extend diagonally across the foreground. The informal pose suggests a moment of quiet reflection, yet her direct gaze gives the portrait an unmistakable sense of self-assurance. Lesser paints her face with relatively careful modeling while allowing the rest of the composition to become increasingly expressive. Warm beiges and pinks shape her skin, while broad strokes of charcoal and gray define her skirt. Behind her, patches of turquoise, green, cobalt blue, red, and yellow mingle in a loosely constructed background that suggests no recognizable setting. The vigorous brushwork and contrasting colors reveal her interest in abstraction, even as the figure remains firmly recognizable. Born in Providence, Rhode Island, Lesser studied at Massachusetts College of Art and Boston University, where she earned a master’s degree in art education. Working professionally as M. Zena Lesser, she explored portraits, landscapes, still lifes, and abstract compositions, becoming particularly associated with Abstract Expressionism. She also taught art and received recognition from the Copley Society of Boston in 1985. Lesser spent much of her artistic career on Cape Cod, where the changing landscape became an important subject in her work. Featured in the museum’s 2025 “Recent Acquisitions” exhibition, this self-portrait offers an especially personal glimpse of an artist whose work moved confidently between representation and abstraction. Here, Lesser is both the subject and the creator, presenting herself with the same expressive color and energy that defined her art.
@erinkatearcher.bsky.socialOct 16, 2026, 6:19 PM

dragon over cliffs, 8x10 acrylic on panel ✧
#fantasyart #womanartist #handpaintedart #fantasy #threshingday

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@erinkatearcher.bsky.socialOct 16, 2026, 4:51 PM

this piece just burst out of me, finished all in one session ✧ #womanartist #dragon #handpaintedart #fantasy #threshingday

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@sharonprigan.bsky.socialOct 16, 2026, 1:14 PM

I allowed myself for the first time in 10 years to purchase new fabric. I always use upcycled.
#quiltsky
#artquilt
#womanartist
#sewsky

@sharonprigan.bsky.socialOct 14, 2026, 8:57 PM

I finally finished binding that large Wave Sunset Art Quilt. I was working on a few art quilts at the same time over a period of about 3 weeks.
#quiltsky #sewsky #womanartist

@mdstamper.bsky.socialOct 14, 2026, 7:39 PM

“Dido Belle” by Mikéla Henry-Lowe (Jamaican) – Oil on canvas / 2021 – Kenwood House (London, England) #WomenInArt #MikelaHenryLowe #KenwoodHouse #art #artText #arte #BlackArt #BlackWomenInArt #WomanPortrait #DidoBelle #2020sArt #JamaicanArtist #ContemporaryArt #WomensArt #WomanArtist #womenartists

Jamaican artist Mikéla Henry-Lowe presents Dido Belle with an immediacy that feels both historical and contemporary. Belle stands upright in a deep green dress and matching head wrap, her hands gathered before her and her gaze meeting ours directly. Pearls at her neck and ears catch the light, while the orange patterned background presses forward around her. Clear blocks of color and simplified shapes give Belle a strong silhouette and make her face the focus. The green and orange create a warm contrast, while the head wrap connects the portrait to Henry-Lowe’s broader practice of portraying Black women through vivid color and pattern. “Dido Belle” was commissioned by English Heritage for the 2021 exhibition “Painting Our Past: The African Diaspora in England,” which invited Black and mixed-heritage artists to portray historical figures connected with its sites. Belle, born in 1761, was the daughter of an enslaved Black woman and Royal Naval officer Sir John Lindsay. She was raised at Kenwood House as part of the aristocratic Murray family, living there with her great-uncle William Murray, 1st Earl of Mansfield, the Lord Chief Justice. Her position as a Black woman within an elite Georgian household makes her life an important lens on race, status, and slavery in 18th-century Britain. Henry-Lowe seems to have focused on Belle’s head wrap which often appear in the artist’s portraits as expressions of Black culture. It creates a contemporary visual tension that reflects Belle’s experience in a society that did not fully reflect her identity. Displayed at Kenwood, the portrait returns Belle’s image to the house where she spent much of her life. Henry-Lowe gives Belle a memorable portrait with a direct gaze, composed posture, rich clothing, and commanding field of color so she is not an accessory to someone else’s story. The painting gives her presence, dignity, and visual authority within the real-world setting where that complicated history unfolded.
@thezenoftrueart.bsky.socialOct 11, 2026, 2:25 PM

Helene Funke, "Dreams," oil on canvas, 1913; Belvedere Museum. #art #arte #modernart #oilpainting #oiloncanvas #womanartist #femaleartist #paintings #peintures #pinturas #museo #kunstmuseum #museum #artgallery

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@mdstamper.bsky.socialOct 10, 2026, 3:47 PM

“Shelter” by Danielle Mckinney (American) - Oil on linen / 2023 - Rose Art Museum (Waltham, Massachusetts) #WomenInArt #WomensArt #WomanArtist #WomenArtists #DanielleMckinney #BlackArt #AfricanAmericanArt #BlackWomenInArt #Mckinney #OilPainting #art #artText #arte #BrandeisUniversity #RoseArtMuseum

American artist Danielle Mckinney’s paintings often give Black women something art history has too rarely granted them: uninterrupted time to rest, think, dream, and simply inhabit their own interior worlds. Trained first as a photographer, Mckinney brings a cinematic sense of framing and pause to paintings that can feel like film stills of moments already in progress, observed without explanation. In “Shelter,” the title suggests protection, but the refuge is not represented as a room or physical enclosure. Instead, it seems to reside in the woman’s inward attention and in the intimate space created between her hand and a butterfly. A Black woman appears in profile against a broad olive-brown field, leaning forward with her chin resting in one hand. Her short dark hair forms a smooth rounded silhouette, while a voluminous cream garment wraps her shoulders and body in loose, luminous folds. She extends two coral-painted fingertips toward an orange-and-black butterfly hovering just beyond her face. Warm highlights catch her eyes, cheeks, lips, and nails, drawing us toward the tiny encounter. With no furniture or setting visible, the woman, hand, and butterfly seem suspended in a quiet, concentrated space. The insect is often associated with change, fragility, freedom, or brief beauty, yet Mckinney does not force a fixed story. The encounter remains private and open-ended. That resistance to interruption is central to Mckinney’s work. She has described painting as a “spiritual act” and each canvas as a portal for exploring the soul, the self, and freedom within one’s own space. “Shelter” was included in Danielle Mckinney: Tell Me More at the Rose Art Museum, her first solo U.S. museum exhibition which brought together 13 paintings centered on Black women’s interior lives, autonomy, beauty, and resilience. The restrained palette, isolated figure, and minute butterfly turn an ordinary gesture of attention into a moment in which stillness itself becomes shelter.
@laurajg.bsky.socialOct 9, 2026, 9:52 PM

By Zinaida Serebriakova (1884-1967), Green Autumn Landscape, 1908, oil on canvas, 43.4 x 45 cm, Tretyakov Gallery, Moscow. #art #womanartist #womenartists #painting #oilpainting

From Byron’s Muse on Wordpress: ‘“Green Autumn Landscape”, shows an early autumn scene. Nearly the entire canvas shows a vast field stretching on and on in long, neverending vertical lines. Three windmills break up the space for the moment but then the fields spread on more and more in the distance. The sky is light grey and quiet. No crows are restlessly, nervously flying low above the fields, but still there is a sense of foreboding because we know that the fogs will soon descent and hover above the fields, that the green that is so pleasant to the eyes will turn to brown soil. To me, this painting represents autumn’s sense of desolation, painted in a very simple but beautiful way. It also brings to mind many landscapes by Vincent Van Gogh.”
@kimtestone.bsky.socialOct 9, 2026, 7:14 PM

Join me live on Twitch today for a signed mini print giveaway!
www.twitch.tv/kim_testone_artist

#art #painting #noai #acrylicpainting #artwork #blueskyart #traditionalart #livestream #twitch #blueskyartshow #traditionalpainting #twitchstream #realism #hyperrealism #stilllife #chatting #womanartist

A woman sitting at an easel in her art studio with a pallet on her lap painting. She has several realism paintings hanging on the wall behind her of various sugar cookies in whimsical poses.
@mdstamper.bsky.socialOct 8, 2026, 7:40 PM

“Jazz Dancers” by Aldonia R. Bailey (American) - Acrylic on canvas / Possibly 1974 - San Bernardino County Museum (Redlands, California) #WomenInArt #AldoniaBailey #Bailey #BlackArt #AfricanAmericanArt #JazzArt #DanceInArt #BlackRenaissance #art #artText #arte #WomensArt #WomanArtist #WomenArtists

American artist Aldonia Bailey described “Jazz Dancers” as showing dancers “swaying to the music” while people enjoy jazz in Central Park. Rather than isolate a single performer, she makes collective movement the painting’s subject as six women seem linked by an invisible beat, their repeating postures carrying the eye across the canvas like notes in a melodic line. Bailey’s saturated color, simplified forms, and energetic brushwork privilege atmosphere and memory over strict realism. The six Black women sweep diagonally across a vivid green lawn, their bodies leaning backward and sideways as though caught in the same musical phrase. Bailey dresses them in long, brilliantly patterned pink, blue, yellow-green, orange, and deep red skirts paired with pale sleeveless tops, jewelry, and hair ornaments. Their elongated poses turn movement into rhythm so arms bend, shoulders tilt, and skirts flare as the dancers sway together. Behind them, small pavilions painted in pink, blue, and white punctuate a park filled with loosely rendered figures. Tall palms and dense trees frame a glowing yellow-orange sky, giving the scene the warmth and bustle of an outdoor summer festival. This is jazz experienced through motion, community, and pleasure. The work also participates in a long tradition of Black artists representing music and dance as spaces of creativity, social connection, and cultural continuity. Bailey, a Louisiana-born artist long active in Southern California, has repeatedly returned to jazz, dancers, family, and Black everyday life throughout her practice. Her inscription appears to date the painting to 1974, which would make it an unusually early work in her career. The painting appeared in the San Bernardino County Museum’s 2026 exhibition Black Renaissance, where its exuberant celebration of Black music, movement, and communal life resonated with the exhibition’s dialogue between the legacy of the Harlem Renaissance and contemporary Black creativity.
@erinkatearcher.bsky.socialOct 8, 2026, 6:01 PM

dragon in progress #traditionalart #womanartist #fantasy #fantasyart #threshingday

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@erinkatearcher.bsky.socialOct 7, 2026, 4:56 PM

new painting in progress ✧ #traditionalart #witches #fantasy #womanartist

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@mdstamper.bsky.socialOct 6, 2026, 9:34 PM

“Green Tea” by Leonora Carrington (British) - Oil on canvas / 1942 - Museum of Modern Art (New York, NY) #WomenInArt #WomensArt #LeonoraCarrington #Carrington #Surrealism #BritishArt #MoMA #ModernArt #art #artText #arte #painting #BritishArtist #MuseumOfModernArt #1940sArt #WomanArtist #WomenArtists

British artist Leonora Carrington painted “Green Tea” during a turbulent period of displacement and reinvention. After Nazi authorities imprisoned her partner, artist Max Ernst, during World War II, Carrington fled France for Spain. There she experienced a psychological crisis and was confined against her will in a psychiatric institution in Santander, where she underwent harsh treatments. She later escaped her family’s plans for further institutionalization, traveled to New York, and painted this work shortly afterward. Across a strangely manicured green landscape, a solitary woman stands wrapped from shoulders to ankles in black-and-white, cowhide-like fabric. Her arms disappear beneath the constricting folds, while her pale, masklike face and bare feet remain exposed. Beside her, four small antlered heads rise from a purple vessel. Farther right, a reddish doglike creature and a white horse are tethered to slender trees that seem to grow from their own elongated tails. Behind them stretches an intricate countryside of hedges, paths, miniature trees, towers, and distant fantastic structures beneath a blue sky. Along the bottom edge, the earth appears sliced open, revealing a shadowy underground realm inhabited by bats, birds, bodies, and mysterious cocoons. The bound central figure has often been interpreted as Carrington herself. Its enveloping garment evokes both protection and restraint, making the surrounding open landscape feel paradoxically inaccessible. The white horse carries particular autobiographical resonance: horses recur throughout Carrington’s art and writing as figures of freedom, transformation, and rebellious energy. Here, however, even the horse is chained. The serene English-looking countryside coexists with impossible animals, ritualistic objects, and an ominous world literally beneath the surface. The painting embodies a central Surrealist impulse: ordinary appearances conceal unruly inner realities.
@lesliedeilart.bsky.socialOct 6, 2026, 12:08 AM

I'm getting older, as we all do. With this season of life, I force myself to do a self portrait every year. I'm finally getting around to doing this year's portrait.

#selfportrait #womanartist #midlife #linocut #studiotime #art

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@mdstamper.bsky.socialOct 5, 2026, 2:56 PM

“afro.died, T.” by Rozeal. (American) - Acrylic, pen, ink, marker, and graphite on birch plywood panel / 2011 - National Gallery of Art (Washington, DC) #WomenInArt #Rozeal #art #artText #WomenArtists #BlackArt #AfricanAmericanArt #AfricanAmericanArtist #IonaRozealBrown #ContemporaryArt #WomanArtist

American artist Rozeal. (Iona Rozeal Brown) created this work after becoming fascinated by ganguro, a Japanese youth style associated with deeply tanned skin, blond or bleached hair, dramatic makeup, and fashion shaped in part by African American hip-hop culture. She combines that contemporary reference with the visual language of ukiyo-e and bijin-ga images of fashionable women, producing a deliberately unstable hybrid of Japanese, Black American, and Western imagery. A glamorous woman reclines diagonally across the panel, gathering a long fall of blond hair in both hands. Her skin is partly covered in dripping brown pigment that leaves lighter areas visible beneath, while dark roots, red lips, elongated scarlet nails, pearls, and a green robe trimmed with white fur heighten the sense of deliberate self-fashioning. Behind her, large circles resembling records overlap with angular lines and repeated “BACK AND FORTH” text. At lower left and across her thigh, koi, curling blue waves, patterned cushions, and flattened decorative space evoke Japanese print traditions. Her lowered gaze makes the scene feel less like a posed portrait than a private moment of transformation. The brown color appears applied rather than natural, making racial transformation visible and raising questions about imitation, appropriation, and the unequal consequences of “putting on” signs of Blackness. The repeated phrase “BACK AND FORTH” reinforces that cultural movement and also recalls Aaliyah’s 1994 song. The title is another layered exchange as “afro.died, T.” sounds like Aphrodite, goddess of love and beauty, while its written form suggests an “afro” dying or disappearing. Rozeal. does not reduce cultural borrowing to a simple accusation. Instead, she makes the painting seductive, witty, and uneasy at once, asking what is gained, distorted, or erased when beauty and identity travel across cultures.
@mdstamper.bsky.socialOct 4, 2026, 5:59 PM

“Africa” by Loïs Mailou Jones (American) – Oil on canvas board / 1935 – The Johnson Collection (Spartanburg, South Carolina) #WomenInArt #WomenArtists
#LoisMailouJones #BlackArt #AfricanAmericanArt #TheJohnsonCollection #artText #LoïsMailouJones #WomensArt #WomanArtist #africa #HarlemRenaissance

American artist Loïs Mailou Jones painted “Africa” in 1935, five years after joining the faculty of Howard University, where she would teach for nearly half a century. Colleagues there encouraged the Boston-born artist to challenge racist stereotypes and explore African heritage, and this painting reflects that developing engagement. Three monumental Black figures fill the composition, pressed close to the picture plane against a glowing yellow-orange background and broad tropical leaves. The central woman dominates the upper half of the painting, her long, symmetrical face framed by dark hair and accented with green, almond-shaped eyes. She wears dangling gold earrings, a necklace of pale tusks or teeth, and patterned fabric draped across one shoulder. Below her, two additional figures overlap across the foreground. At left, a figure tilts inward beneath stacked gold neck rings and an elaborate spiral earring. At right, another face reclines horizontally, partially obscuring the boldly striped garment at center. Deep browns, greens, golds, cream, blue, and red repeat across skin, jewelry, foliage, and textiles, creating a tightly orchestrated pattern. The elongated faces, simplified features, still expressions, and compressed space give the figures a sculptural presence that evokes African masks, an aesthetic vocabulary Jones would return to throughout her career. At the same time, the work displays her exceptional command of decorative pattern and color, skills rooted partly in her early training as a textile designer. The Johnson Collection describes the painting’s jewel-like palette, patterned cloth, jewelry, and mask-inspired faces as central to Jones’s response to calls for Black artists to engage more directly with African cultural traditions.
@thezenoftrueart.bsky.socialOct 4, 2026, 5:49 PM

Gabriele Munter, "Flower and Fruit Still Life," oil on cardboard, c.1940-50; photo: Ketterer Kunst. #art #arte #gabrielemunter #modernart #stilllife #abstractstilllife #flowers #femaleartist #womanartist #colorfulart #museum #paintings #peintures #kunst #museum #artgallery

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@sharonprigan.bsky.socialOct 4, 2026, 5:02 PM

So, I was watching him create his patchwork square, and I couldn't help but notice those beautiful fabric strips calling my name. The waves of inspiration just washed over me!
www.priganart.com/post/brown-w...

#quiltsky #sewsky #womanartist #artquilt

brown fabric strips on a table and someone sitting at a sewing machinebrown wave landscape patchwork art quiltquilting a brown wave landscape patchwork art quilt brown wave pieced and quilted art quilt