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Phoebe Anna Traquair (1852 - 1936). Tapestry "The Progress of a Soul" (1893-1901)
Silk, gold and silver thread embroidery on linen.  National Gallery of Scotland, Edinburgh.
Phoebe Anna Traquair was an Irish artist who rose to prominence in Edinburgh and went on to produce a staggering volume of work. She was part of the Arts and Crafts movements in Scotland and worked in a number of disciplines including embroidery, jewellery making and metal work, painting, illustration and book design. She painted vast murals in several buildings including the Catholic Apostolic Church and the chapel of the Royal Hospital for Sick Children, both in Edinburgh. Notably, she illuminated the book “Sonnets from the Portuguese” by the poet Elizabeth Barratt Browning, but she is probably best known today for her exquisite embroidered panels and drapes, the most spectacular of which “The Progress of a Soul” (part of which is seen above) now resides in the National Gallery of Scotland in Ediburgh.
Traquair is a unique figure in both British Art and the Arts and Crafts movement, and she has been identified as the first significant professional woman artist in modern Scotland.

vividrain:

Phoebe Anna Traquair (1852 - 1936). Tapestry "The Progress of a Soul" (1893-1901)

Silk, gold and silver thread embroidery on linen.
National Gallery of Scotland, Edinburgh.

Phoebe Anna Traquair was an Irish artist who rose to prominence in Edinburgh and went on to produce a staggering volume of work. She was part of the Arts and Crafts movements in Scotland and worked in a number of disciplines including embroidery, jewellery making and metal work, painting, illustration and book design. She painted vast murals in several buildings including the Catholic Apostolic Church and the chapel of the Royal Hospital for Sick Children, both in Edinburgh. Notably, she illuminated the book “Sonnets from the Portuguese” by the poet Elizabeth Barratt Browning, but she is probably best known today for her exquisite embroidered panels and drapes, the most spectacular of which “The Progress of a Soul” (part of which is seen above) now resides in the National Gallery of Scotland in Ediburgh.

Traquair is a unique figure in both British Art and the Arts and Crafts movement, and she has been identified as the first significant professional woman artist in modern Scotland.

— il y a 3 jours avec 4 notes
#phoebe anna traquair  #silk  #gold  #silver  #linen  #the progress of a soul  #tapestry  #1893  #1890s  #1901  #1900s  #national gallery of scotland 

decomposionArt history meme (x) - 1/3 countries/regions - Far East Asia

Lofty Mount Lu by Shen Zhou | Blue Birds at Night by Watanabe Shotei | Pear Blossoms by Qian Xuan | Apricot Blossoms and Peacocks by Lü Ji | Plum Blossoms by Sun Long and Chen Lu | Moran Hojeopdo by Joseon | A Pair of Peacocks in Spring by Imao Keinen | Summer. Blooming wisteria and fish by Watanabe Shotei

(via la-casati)

— il y a 4 jours avec 36445 notes
#lofty mount lu  #shen zhou  #blue birds at night  #watanabe shotei  #pear blossoms  #qian xuan  #apricot blossoms and peacocks  #lü ji  #plum blossoms  #sun long  #chen lu  #moran hojeopdo  #joseon  #a pair of peacocks in spring  #imao keinen  #summer blooming wisteria and fish 
books0977:

Girl Holding a Book (c.1922). Gwen John (Welsh, 1876-1939). Oil on canvas. Smith College Museum of Art.
John worked in France for most of her career. Her paintings, mainly portraits of anonymous female sitters, are rendered in a range of closely related tones. This painting, Girl Holding a Book, is representative of her work.

books0977:

Girl Holding a Book (c.1922). Gwen John (Welsh, 1876-1939). Oil on canvas. Smith College Museum of Art.

John worked in France for most of her career. Her paintings, mainly portraits of anonymous female sitters, are rendered in a range of closely related tones. This painting, Girl Holding a Book, is representative of her work.

— il y a 1 mois avec 77 notes
#girl holding a book  #1922  #1920s  #oil  #gwen john  #smith college museum of art 
Battle of Horsemen and Foot Soldiers (mid-16th century). Guglielmo della Porta. 
Pen and ink. Metropolitan Museum. 

Battle of Horsemen and Foot Soldiers (mid-16th century). Guglielmo della Porta. 

Pen and ink. Metropolitan Museum

— il y a 1 mois avec 1 note
#battle of horsemen and foot soldiers  #16th century  #guglielmo della porta  #pen  #ink  #metropolitan museum of art 
La Marquesa Casati (1920).  Federico Beltrán-Masses.
Oil on canvas.  Private Collection.
“Marchesa Luisa Casati was renowned for her eccentricity and hedonistic life style. She married young only to discover that the constraints of it didn’t suit her. Luisa returned intermittently to an affair with the wild Italian poet Gabriele d’Annunzio, while numbering both men and women among her other lovers. She was often seen promenading Paris and the Venetian canals around the Palazzo Venier dei Leoni, on the Grand Canal (later also the home of Peggy Guggenheim; it today houses her collection) in only a fur coat, accompanied by two cheetahs. In an effort to make herself a ‘living work of art’ she commissioned portraits from, among others, Boldini, Kees Van Dongen, Jacques-Emile Blanche, Man Ray, Cecil Beaton and Baron de Mayer.” (x)
(via klimt-artwork)

La Marquesa Casati (1920).  Federico Beltrán-Masses.

Oil on canvas.  Private Collection.

Marchesa Luisa Casati was renowned for her eccentricity and hedonistic life style. She married young only to discover that the constraints of it didn’t suit her. Luisa returned intermittently to an affair with the wild Italian poet Gabriele d’Annunzio, while numbering both men and women among her other lovers. She was often seen promenading Paris and the Venetian canals around the Palazzo Venier dei Leoni, on the Grand Canal (later also the home of Peggy Guggenheim; it today houses her collection) in only a fur coat, accompanied by two cheetahs. In an effort to make herself a ‘living work of art’ she commissioned portraits from, among others, Boldini, Kees Van Dongen, Jacques-Emile Blanche, Man Ray, Cecil Beaton and Baron de Mayer.” (x)

(via klimt-artwork)

— il y a 3 mois avec 11 notes
#la marquesa casati  #1920  #1920s  #luisa casati  #federico beltrán-masses  #oil  #private collection 
La Maja Marquesa (1915).  Federico Beltrán-Masses.
Oil on canvas.  Private Collection.
“Despite the extensive coverage given the painting upon its first exhibition, this triple portrait remains something of an enigma, the Maja Marquesa was well known in Spanish high-society for her distinguished ancestry, but equally well for her scandalous lesbian lifestyle. In allowing his nude Marquise, not simply a hired model, to be identified, Beltrán-Masses took a considerable risk. He broke yet another convention of the day by presenting her nude alongside clothed companions, as Manet had in Dejeuner sur l’Herbe more than thirty years earlier. However, it was the presentation of a recognised figure from high society wearing nothing but a mantilla – a headdress usually worn only on special occasions with the traditional dress - that caused particular outrage among the conservative members of the Comité. Nonetheless, only three of the critics writing in support of Beltrán in 1915 identified the sitter; the majority praised the painting on its merits as a work of art and condemned those who had opposed its exhibition as presiding over ‘a kingdom of mediocrity.’ When King Alfonso XIII and his elderly mother attended Beltrán’s exhibition in Madrid the following year at the Palace Hotel, the sovereign’s approval further demonstrated the foolishness of the Comité members.”  (x)
(via deviatesinc)

La Maja Marquesa (1915).  Federico Beltrán-Masses.

Oil on canvas.  Private Collection.

Despite the extensive coverage given the painting upon its first exhibition, this triple portrait remains something of an enigma, the Maja Marquesa was well known in Spanish high-society for her distinguished ancestry, but equally well for her scandalous lesbian lifestyle. In allowing his nude Marquise, not simply a hired model, to be identified, Beltrán-Masses took a considerable risk. He broke yet another convention of the day by presenting her nude alongside clothed companions, as Manet had in Dejeuner sur l’Herbe more than thirty years earlier. However, it was the presentation of a recognised figure from high society wearing nothing but a mantilla – a headdress usually worn only on special occasions with the traditional dress - that caused particular outrage among the conservative members of the Comité. Nonetheless, only three of the critics writing in support of Beltrán in 1915 identified the sitter; the majority praised the painting on its merits as a work of art and condemned those who had opposed its exhibition as presiding over ‘a kingdom of mediocrity.’ When King Alfonso XIII and his elderly mother attended Beltrán’s exhibition in Madrid the following year at the Palace Hotel, the sovereign’s approval further demonstrated the foolishness of the Comité members.”  (x)

(via deviatesinc)

— il y a 3 mois avec 114 notes
#la maja marquesa  #1915  #1910s  #federico beltrán-masses  #oil  #private collection 
Three Sketches of Windmills (n.d.) Frank Brangwyn.
Watercolor on paper.  William Morris Gallery. 

Three Sketches of Windmills (n.d.) Frank Brangwyn.

Watercolor on paper.  William Morris Gallery

— il y a 3 mois avec 2 notes
#three sketches of windmills  #frank brangwyn  #watercolor  #paper  #william morris gallery