Terry Winters - Rhizome (1998)
linoleum cut on paper
48.3 x 63.2 cm
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Night and Her Daughter Sleep, Mary L. Macomber, 1902
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Pie Counter, Wayne Thiebaud, 1963
Oil on canvas
29 13/16 x 35 15/16 in. (75.7 x 91.3 cm)
Whitney Museum of American Art, New York City, NY, USA
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Romaine Brooks (1874-1970)
"Una, Lady Troubridge" (1924)
Oil on canvas
Located in the Smithsonian American Art Museum, Washington DC, United States
Una Troubridge was a British aristocrat, literary translator, and the lover of Radclyffe Hall, author of the 1928 groundbreaking lesbian novel, "The Well of Loneliness." Troubridge appears with a sense of formality and importance typical of upper-class portraiture, but with the sitter's prized dachshunds in place of the traditional hunting dog. Troubridge's impeccably tailored clothing, cravat, and bobbed hair convey the fashionable and daring androgyny associated with the so-called new woman. Her monocle suggested multiple symbolic associations to contemporary British audiences: it alluded to Troubridge's upper-class status, her Englishness, her sense of rebellion, and possibly her lesbian identity.
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Abbott Handerson Thayer (American, 1849–1921) • Stevenson Memorial, later known as Angel • 1887 • Smithsonian American Art Museum
Fun fact: Thayer used his daughter as the model for this portrait.
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«The Daily Heller», Jennifer Morla's Life In Design, (interview), by Steven Heller, «Print» magazine, August 27, 2018
(image: Jennifer Morla, Save Our Earth, [«Celebrate the twenty-fifth anniversary of Earth Day by making every day Earth Day.»], 1995. Smithsonian American Art Museum, Washington, DC. Letterform Archive, San Francisco, CA]
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In one of my art history classes in college I was told that the average person will look at a painting in a gallery for about five seconds before moving on. I thought that was bullshit.
This is Albert Bierstadt’s Among the Sierra Nevada, California, 1868. It was hanging in one of the Smithsonian art galleries in D.C. and there was a bench right in front of it. It’s a rather large painting at 72 x 120⅛ in. (183 x 305 cm) and had its own alcove.
I spent so much time sitting there looking at this painting wondering how much people miss by only giving themselves a few seconds to look at it before they moved on. And people did do that.
I was grateful for that bench—that there was somewhere to sit right in front of the painting as an incentive to relax and look.
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It's #NationalBirdDay in the U.S. so here's a painting of one of my favorite native birds, the Roseate Spoonbill (Platalea ajaja):
Abbott Handerson Thayer (American, 1849–1921)
Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom, c. 1905-1909
oil on paperboard, 22 7⁄8 x 26 1⁄4 in. (58.2 x 66.6 cm.)
[Smithsonian American Art Museum]
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Electronic Superhighway: Continental U.S., Alaska, Hawaii by Nam
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Irving Ramsey Wiles (American, 1861-1948) • Russian Tea • c. 1896 Smithsonian American Art Museum, Washington, D.C.
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Joseph Stella
Neapolitan Song. 1929
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Weapons and Physiognomy of the Grizzly Bear, George Catlin, 1846-48
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Untitled (Marine Fantasy with Tamara Toumanova), Joseph Cornell, circa 1940
Collage and tempera on paperboard
21 x 13 ½ in. (53.34 x 34.29 cm)
Smithsonian American Art Museum, Washington, DC, USA
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Everett Shinn (1876-1953)
"The White Ballet" (1904)
Oil on canvas
Located in the Smithsonian American Art Museum, Washington DC, United States
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Thomas Wilmer Dewing (American, 1851-1938) • Young Girl Seated • 1896 • Smithsonian American Art Museum
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Lia Cook, Stage Curtain, (pressed and dyed hand-woven rayon), 1984 [Smithsonian American Art Museum, Washington, DC. © Lia Cook]
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