DC -- Penn Qtr -- Natl Museum of Women in the Arts (1250 New York Ave NW):
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- Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.
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- Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
- NMWA_160320_001.JPG: Amy Sherald
It Made Sense... Mostly in Her Mind, 2011
- NMWA_160320_016.JPG: Vibeke Tandberg
Line #2, 1999
- NMWA_160320_021.JPG: Nicola Tyson
Self-Portrait, 1993
- NMWA_160320_029.JPG: Magdalena Abakanowicz
4 Seated Figures, 2002
Magdalena Abakanowicz's 4 Seated Figures blends her personal memories with her broader vision of a modern world shaped by war and political upheaval. Both headless and handless, these figures reflect the artist's direct experience -- she witnessed her mother being shot in the hands as soldiers stormed their home in Poland during World War II. Abakanowicz noted, however, that the figures are genderless and do not suggest any particular race: "They are naked, exposed, and vulnerable, just as we all are."
Abakanowicz was a leader in the international fiber-art movement that began in the 1960s. She became renowned for her innovative, off-loom sculptural techniques using rope, burlap, string, or cotton gauze. Abakanowicz created 4 Seated Figures from plaster molds of human models she had made in the late 1970s. Pressing burlap soaked with resin and glue into the molds, she shaped each figure individually. With a texture resembling tree bark, they appear to have been stripped of skin, revealing muscles, arteries, or cords suggestive of the nervous system.
- NMWA_160320_035.JPG: Petah Coyne
Untitled #781, 1994
Influenced by her personal memories, literature, Catholic theology, and historical art such as European baroque sculpture, Petah Coyne explores distinctions between lushness and decay, beauty and grotesqueness. This untitled work is part of a series of white-and-pink wax sculptures that resemble rococo chandeliers, voluminous skirts, or dresses. It reflects how Coyne imagined womanhood as a girl: beautiful and extravagantly festive, like "floating on air." After forming the underlying wire structure, Coyne tied satin ribbons to the wire and poured layers of wax over the surface.
Coyne's diverse, unconventional sculpting mediums -- dirt, sand, wax, shredded metal, hair, silk flowers, and taxidermy -- evince what she calls the seductive power of materials. She was moved to work with wax in the early 1990s after visiting candle-lit churches during a trip to Italy. Like the dripping candles Coyne observed, this encrusted sculpture is an affecting, yet slightly macabre, embodiment of transcendent experiences.
- NMWA_160320_041.JPG: Kiki Smith
Mary Magdalene, 1994
- NMWA_160320_046.JPG: Faith Ringgold
Jo Baker's Bananas, 1997
- NMWA_160320_053.JPG: Kiki Kogelnik
Superwoman, 1973
Kiki Kogelnik's paintings from the 1970s, including Superwoman, engaged with feminist perspectives on the representation of women's bodies. In particular, she addressed the body's ubiquity in advertising.
With characteristic deadpan humor, Kogelnik drew her figures in an imposing, larger-than-life scale. The hard-edged outline of Superwoman against a monochrome background makes her appear powerful yet two-dimensional, akin to a cartoon or comic book character.
The X shape formed by the open scissors echoes the woman's confrontational pose. Kogelnik often rendered her figures with unsmiling faces and hollow eye sockets or dark sunglasses, making them appear somewhat fearsome.
Superwoman is likely a self-portrait. Kogelnik often wore flamboyant clothing, including aviator caps and large sunglasses such as those sported by the figure in this painting. A slightly earlier self-portrait by Kogelnik is nearly identical in composition to Superwoman. That print shows the artist holding scissors and straddling a stack of cut-outs.
Kogelnik often used scissors in her art to create stencils and vinyl silhouettes. Images of the artist holding scissors allude to her own power to manipulate figures and images by literally cutting them out.
- NMWA_160320_058.JPG: Robin Kahn
Victoria's Secret, 1995
- NMWA_160320_075.JPG: Art and Feminism
Visual art in the 1970s reflected dramatic political and cultural shifts occurring globally. In the U.S., the Vietnam War and the Civil Rights and Women's Movements challenged mainstream values. Feminist artists and activists protested the unequal representation of women in museums, galleries, and publications. Colleges and universities responded by introducing women's studies curricula and feminist art history classes.
Seeking imagery that could form the core of feminist art, some artists created abstracted symbols that reference the female sexual body. Feminist artists worked in traditional fine art media such as painting and sculpture, but they also pioneered experimental art forms such as performance and video. They attained critical recognition for weaving, sewing and assemblage - processes that had previously been classified as handicrafts. Feminist art put strong emphasis on subjective experience. Content often reflects artists' direct experiences within both the domestic and professional spheres as well as critiques of popular culture. Much feminist art is also representational. This sets it apart from the abstract minimalist style prevalent in the 1960s, which was praised by critics and associated almost exclusively with male artists.
- NMWA_160320_079.JPG: Mickalene Thomas
A-E-I-O-U and Sometimes Y, 2009
Mickalene Thomas explores and expands traditional notions of female identity and beauty through her rhinestone-encrusted depictions of African American women. The artist draws inspiration from art history and popular culture, so her imagery is as likely to reference nineteenth-century painting as blaxploitation films of the seventies. A-E-I-O-U and Sometimes Y, originally exhibited as part of a forty-panel installation at Lehmann Maupin gallery in New York, recalls Andy Warhol's photo-booth portraits. The title of the work pays homage to "AEIOU and Sometimes Y," a dance-club and MTV-hit in 1983 for the two-man group Ebn-Ozn. Thomas often titles her works after songs in this way.
Working from a digital projection of a photo-booth snapshot of her model Fran, Thomas outlined her subject's contours in black rhinestones using chopsticks. For Thomas, rhinestones are a surrogate for the masking, dressing up, and beautifying that women practice. At first glance, the glossy pink panel looks perfectly uniform, as if machine-made. Closer inspection reveals subtle color variations and paint layers that confirm Thomas's creative presence.
- NMWA_160320_085.JPG: Frida Kahlo
Self-Portrait Dedicated to Leon Trotsky, 1937
Like many paintings by Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky focuses on a particular event in the artist's life. It commemorates the brief affair Kahlo had with the exiled Russian revolutionary leader Leon Trotsky shortly after his arrival in Mexico in 1937. In this painting, she presents herself elegantly clothed in a long embroidered skirt, fringed shawl, and delicate gold jewelry. Flowers and coils of red yarn adorn her hair and adroitly applied makeup highlights her features. Poised and confident in her stage-like setting, Kahlo holds a bouquet of flowers and a letter of dedication to Trotsky that states, "with all my love." Interestingly, Clare Boothe Luce, the American playwright, socialite, and U.S. Congresswoman, donated Self-Portrait Dedicated to Leon Trotsky to NMWA in 1988.
Kahlo, like many Mexican artists working after the Revolutionary decade that began in 1910, was influenced in her art and life by the nationalistic fervor known as Mexicanidad. The artists involved in this movement rejected European influences and favored a return to the country's native roots and folk traditions. Kahlo often wore the distinctive clothing of the Tehuantepec women in southwest Mexico; she also looked to pre-Columbian art and Mexican folk art for forms and symbols in her paintings. The compositional elements of the stage and curtains, for example, draw upon Mexican vernacular paintings called retablos, devotional images of the Virgin or Christian saints painted on tin, which Kahlo collected.
- NMWA_160320_092.JPG: Alice Bailly
Self-Portrait, 1917
- NMWA_160320_097.JPG: Suzanne Valadon
The Abandoned Doll, 1921
In The Abandoned Doll, Suzanne Valadon portrays an intimate scene with a strong psychological mood. Seated on a bed, a fully clothed woman towels dry a girl. The girl, clad only in a pink hair ribbon, turns away from the woman and appears to inspect herself in a hand mirror. The pink bow echoes that in the hair of the doll, a symbol of childhood forgotten on the floor near the bed. This visual connection, combined with the girl's maturing body, suggests that this is a moment of transition in her young life.
Though we know the figures portrayed here are Valadon's niece and the girl's mother, the artist refrains from identifying this as a portrait. In this way, the painting tells a more universal story of a girl's journey from childhood to adolescence, which resonates with many viewers.
The Abandoned Doll exemplifies Valadon's mature style: vivid colors, dark outlines, textile patterns, and simplified forms with awkward poses and distorted anatomy. She had no formal training; rather, she assimilated various artistic and intellectual concerns of the 19th and early 20th centuries from direct contact with artists, such as Edgar Degas, Puvis de Chavannes, and Henri de Toulouse-Lautrec. However, Valadon's style was highly personal, and her nudes typically are unidealized, active women, challenging the convention of the sexualized, passive female body.
- NMWA_160320_105.JPG: Remedios Varo
Tejido espacio-tiempo (Weaving of Space and Time), 1954
- NMWA_160320_113.JPG: Early Twentieth Century
The first half of the twentieth century saw great technological, philosophical, and artistic changes. The airplane and the automobile, Marie Curie's discovery of radium, Sigmund Freud's psychoanalysis, the Great Depression, and World Wars altered the way people experienced the world around them. A modern notion of femininity emerged as well in the "New Woman," who was non-conformist in both appearance and attitude.
As the traditional art academy system declined, new styles came to the fore. European and American women played an integral role in the development of the first modern art "isms" -- fauvism, expressionism, cubism, dadaism, and surrealism -- that emerged in the first four decades of the twentieth century. The expressive potential of these styles excited women artists. Many incorporated ambiguous perspectives, intense colors, and flattened planes in their works, while others took the more radical step of creating entirely abstract images. Women felt free to treat the subject of the nude figure (which was previously taboo for them) and develop their own approach to traditional subject matter such as landscape, still life, and portraiture.
- NMWA_160320_116.JPG: Lotte Laserstein
Morning Toilette, 1930
Lotte Laserstein met Traute Rose during the 1920s. A gifted athlete, Rose became the artist's tennis coach and, later, her favorite model, capable of holding difficult poses for an extended period of time.
In its straightforward, sober, and unflattering style, this work typifies German realism. Although it features the life-size nude figure of a woman at her toilette -- a venerable theme throughout Western and Japanese art -- Morning Toilette exhibits little of the sensuality or grace generally associated with this subject.
Laserstein depicts the neue Frau (new woman): physically powerful and independent. Rose's connection with the world of the 1930s is evident from such touches as her blunt-cut, chin-length hair, several lank strands of which hang beside her face. She is also tied to reality by the well-worn bedroom slippers and dramatically cropped water basin at the lower edge of the canvas.
- NMWA_160320_121.JPG: Alice Trumbull Mason
Winter, 1930
- NMWA_160320_132.JPG: Hellen Van Meene
Untitled (75b), 1999
- NMWA_160320_135.JPG: Berthe Morisot
Choir Boy, 1894
- NMWA_160320_143.JPG: Ellen Day Hale
The Green Calash, 1927
- NMWA_160320_149.JPG: Marie Danforth Page
Her Littlest One, 1914
- NMWA_160320_157.JPG: Berthe Morisot
The cage, 1885
- NMWA_160320_168.JPG: Ellen Day Hale
First Night in Venice, 1890
- NMWA_160320_172.JPG: Sarah Miriam Peale
Susan Avery, 1821
This pair of pendant portraits -- portraits painted as a set, typically of husband and wife -- illustrate Sarah Miriam Peale's meticulous attention to detail. The result is a visually and emotionally satisfying image of a proud and prosperous Philadelphia couple.
In what are likely their wedding portraits, Susan and Isaac Avery sit in slightly stiff, formal postures with their bodies angled and their gazes directed toward the viewer. Their stylish chairs and rich attire indicate their wealth and status.
Particularly noteworthy are Susan's earrings and heart-shaped pendant, as well as the tortoise-shell hair combs just visible at the back of her head and amid the curls near her face. Isaac probably manufactured such combs, which were expensive items at the time. Cashmere shawls of the kind draped around Susan's left arm were equally luxurious.
Peale's affinity for painstaking natualism is further evident in the highlights on Isaac's stick pin, watch chain, and the double row of gold buttons on his jacket. In fact, she painted the second button from the top, on the viewer's right, twisted at an angle to make it catch the light. In both portraits Peale balanced the specificity of such details with the plain background that focuses attention on the figures themselves.
- NMWA_160320_181.JPG: Sarah Miriam Peale
Isaac Avery, 1821
This pair of pendant portraits -- portraits painted as a set, typically of husband and wife -- illustrate Sarah Miriam Peale's meticulous attention to detail. The result is a visually and emotionally satisfying image of a proud and prosperous Philadelphia couple.
In what are likely their wedding portraits, Susan and Isaac Avery sit in slightly stiff, formal postures with their bodies angled and their gazes directed toward the viewer. Their stylish chairs and rich attire indicate their wealth and status.
Particularly noteworthy are Susan's earrings and heart-shaped pendant, as well as the tortoise-shell hair combs just visible at the back of her head and amid the curls near her face. Isaac probably manufactured such combs, which were expensive items at the time. Cashmere shawls of the kind draped around Susan's left arm were equally luxurious.
Peale's affinity for painstaking natualism is further evident in the highlights on Isaac's stick pin, watch chain, and the double row of gold buttons on his jacket. In fact, she painted the second button from the top, on the viewer's right, twisted at an angle to make it catch the light. In both portraits Peale balanced the specificity of such details with the plain background that focuses attention on the figures themselves.
- NMWA_160320_185.JPG: Louise Abbema
A Game of Croquet, 1892
- NMWA_160320_196.JPG: Minerva J. Chapman
Lady Reading by Lamplight, 1898
- NMWA_160320_201.JPG: Bessie Potter Vonnoh
The Fan, 1910
Although Bessie Potter Vonnoh rendered numerous large-scale public sculptures in her lifetime, it was her small sculptures of middle-class domestic harmony that were particularly popular with contemporaries.
The Fan functions as a study in contrasts. The woman's gossamer gown flows into vertical striations that suggest a fluted column, emphasizing the figure's reserved mien and static pose. At the same time, those grooves create a dynamic, flickering surface and provide a sense of rhythmic movement around the figure.
Drawing on influences ranging from Tanagra terra cotta figures of ancient Greece to the domestic scenes rendered by Mary Cassatt and Auguste Renoir, Vonnoh shaped a style and subject matter distinctively her own. Despite care and deliberation in rendering her subjects, Vonnoh managed to give the impression of spontaneity, which added to her sculptures' appeal.
- NMWA_160320_206.JPG: Camille Claudel
Young Girl with a Sheaf, ca 1890
Camille Claudel's experience as a studio assistant to Auguste Rodin gave her the opportunity to study the nude figure and develop a profound understanding of anatomical nuances.
Young Girl with a Sheaf depicts a seated young woman leaning against a sheaf of wheat. Claudel emphasized the firmness of the girl's flesh against a roughly modeled background. The figure's head twists toward the right while she draws her right arm close to her body and crosses her knees. The pose emphasizes her modesty by denying overt sexuality. The girl's position is also compelling from different angles and allows Claudel to capture the tension that underlies this awkward stance.
By specializing in small-scale sculpture, Claudel built a following of private collectors and created multiple editions to meet demand. She produced several versions of Young Girl with a Sheaf, including one in terra cotta and a series of 12 cast in bronze (this example is the eighth). Claudel gained renown for exercising direct control over the process of casting her sculptures in bronze. She underscored the technical aspect of the artist's hand at a time when most artists still relinquished the clay model to specialized artisans.
- NMWA_160320_212.JPG: Sarah Bernhardt
Apres la tempete (After the Storm), ca 1876
Après la tempête (After the Storm) depicts a Breton peasant woman cradling the body of her grandson who had been caught in a fisherman's nets. Sarah Bernhardt had seen this woman on the seashore and was moved by her story, which ended tragically with the death of the child. But in Bernhardt's sculpture the child's right hand grips the woman's garment, perhaps suggesting the possibility of a more hopeful ending.
The artist allegedly took anatomy lessons specifically to convey the intensity of the subject. Her ability to render textures from smooth skin to rough nets adds to the naturalism of the piece. Bernhardt's arrangement of the figures suggests her knowledge of works, such as Michelangelo's Pieta, in which the Virgin Mary supports the dead Christ on her lap.
When the large original plaster cast for this work was exhibited at the Salon in 1876, it won a silver medal. Two years later, the artist sold the rights to reproduce Après la tempête to the dealer Henri Gambard, who appears to have commissioned very few duplicates. The sculpture in NMWA's collection seems to be unique and may in fact be the one that was sold in the artist's estate sale in 1923, as no other marble versions are documented.
- NMWA_160320_217.JPG: Jennie Augusta Brownscombe
Love's Young Dream, 1887
One of Jennie Augusta Brownscombe's most popular paintings, Love's Young Dream celebrates life in a traditional, close-knit rural family. Brownscombe's ability to create a wealth of believable details adds to the strength of her narrative. A young woman stands on the middle step of her humble home, halfway between the interior (domestic) sphere where she has been living and the outside world she hopes to enter soon. She gazes longingly toward the road, where a man on horseback, presumably her romantic interest, approaches. Meanwhile, the gray-haired woman (presumably her mother) glances up from her knitting, her bemused expression registering fondness and concern and perhaps a warm memory of her own first love, while her partner busies himself with his book. Fallen leaves scattered about the yard identify the season as autumn, in an idyllic setting where cattle graze peacefully in the middle distance.
Compositionally, Brownscombe contrasts the right-hand side of the picture, where all three figures have been placed, with the left, where an unencumbered view of the landscape stretches back to the mist-shrouded hills. The predominant color scheme (black, browns, and grays) is relieved by a few well-placed spots of bright color, while the kitten adds a note of playfulness.
- NMWA_160320_225.JPG: Jennie Augusta Brownscombe
Thanksgiving at Plymouth, 1925
Jennie Augusta Brownscombe's paintings of scenes from Colonial American history appealed to her contemporaries, who sought nostalgic escape from the increasing urbanization, industrialization, and immigration around them.
In Thanksgiving at Plymouth, as with other American subjects, Brownscombe strove for historical accuracy, searching out portraits, documents, and other records to ensure the details. Patrons and critics of the day viewed her version of the first Thanksgiving as true to life.
Historical records certainly affirm that the Pilgrims and Wampanoag Indians shared an autumn feast celebrating the colonists' first successful harvest in 1621. Yet, their gathering would not have resembled Brownscombe's portrayal -- not least because she included anachronistic log cabins and Sioux headdresses. In reality, her representation of the iconic event reflected the idealized version of the story that entered the collective memory of the United States in the last quarter of the 19th century.
- NMWA_160320_231.JPG: Elizabeth Adela Stanhope Forbes
Will-o'-Wisp, ca 1900
- NMWA_160320_236.JPG: The Nineteenth Century in Europe and the United States
While a few women artists achieved great success in the eighteenth century, many struggled to find proper training. The nineteenth century ushered in radical social changes, including new educational opportunities and growing support for women's rights. In both Europe and the US, women gained marginal admittance to art academies beginning in the 1860s.
Because of their gender, women were prohibited from studying the nude figure until the end of the century. This constraint limited their engagement with historical and mythological subjects, which were exalted by art critics of the time. Many women selected subjects accessible through their immediate experience: domestic scenes, still lifes, and portraiture. Like their seventeenth- and eighteenth-century counterparts, women who succeeded professionally often received training and support from their artistic families.
A number of American artists traveled to Europe at the end of the century, with Paris as a favorite destination. The city was then the center of the western art world and offered many opportunities for artists to exhibit their works. Some artists remained abroad while others returned from Europe and helped found arts institutions in the US Women artists were integral to the advancement of avant-garde movements such as impressionism in American culture.
- NMWA_160320_243.JPG: Minerva J. Chapman
Still Life: A shelf in the Studio, Paris, 1889
- NMWA_160320_255.JPG: The view from the window. That's the New York Avenue Presbyterian Church on the corner of H and Pennsylvania Ave. You can see the roof of the Old Executive Office Building on the left.
- Wikipedia Description: National Museum of Women in the Arts
From Wikipedia, the free encyclopedia
The National Museum of Women in the Arts (NMWA), located in Washington, D.C. is the only museum solely dedicated to celebrating women’s achievements in the visual, performing, and literary arts. NMWA was incorporated in 1981 by Wallace and Wilhelmina Holladay. Since opening its doors in 1987, the museum has acquired a collection of more than 3,500 paintings, sculptures, works on paper and decorative art.
History:
While traveling abroad, Mr. and Mrs. Holladay admired a 17th-century still-life by Flemish painter Clara Peeters. The Holladays later sought information on Peeters, yet the definitive college art history text (H.W. Janson’s History of Art) failed to include Peeters, or any other female artist. The Holladays then decided to make works by women the basis for their art collection, which later would become the core of NMWA’s permanent collection.
Building:
In 1983, NMWA purchased a landmark 78,810 sq ft (7322 m²) former Masonic temple to house its works. Initially drafted by architect Waddy B. Wood, the main building was completed in 1908 and the original structure is on the D.C. Inventory List of Historic Sites as well as the National Register of Historic Places. After extensive renovations, the museum opened to the public April 7, 1987. The Elizabeth A. Kasser Wing opened November 8, 1997 making the entire facility 84,110 sq ft (7814 m²).
Wilhelmina Cole Holladay:
Wilhelmina Cole Holladay is the founder and chair of the Board of the National Museum of Women in the Arts. Since her discovery that women artists have historically been omitted from collegiate art history texts, Wilhelmina Cole Holladay has made it her mission to bring to the forefront the accomplishments of women through collecting, exhibiting and researching women artists of all nationalities and time periods.
Holladay created individual committees of over 1,000 volunteers from 27 states and 7 countries, to give educational opportunities to children through collaborations with schools and other community groups (e.g. Girl Scouts of the USA), as well as provided opportunities for adults to participate and encourage art in local communities across the globe.
Wilhelmina Cole Holladay’s interest in art was sparked as a student at Elmira College in New York, where she studied art history, followed by graduate work at the University of Paris. She is listed in Who’s Who of American Women, Who’s Who in American Art, Who’s Who in the World, and she holds many honorary degrees and achievement awards for her work in the arts community. In 2006 she received the National Medal of Arts from the United States and the Légion d'honneur from the French government. In 2007 Holladay received the Gold Medal for the Arts from the National Arts Club in New York City.
Collection and exhibitions:
Beginning in 1987 with American Women Artists, 1830-1930, NMWA has presented more than 200 exhibitions which include: Julie Taymor: Playing With Fire: Nov. 16, 2000–Feb. 4, 2001, Grandma Moses in the 21st Century: March 15, 2001–June 10, 2001, Places of Their Own: Emily Carr, Georgia O'Keeffe, and Frida Kahlo: Feb. 8, 2002–May 12, 2002, An Imperial Collection: Women Artists from the State Hermitage Museum: Feb. 14, 2003–June 18, 2003, Nordic Cool: Hot Women Designers: Apr. 23, 2004–Sept. 12, 2004, Berthe Morisot: An Impressionist and Her Circle: Jan. 14, 2005–May 8, 2005, Alice Neel’s Women: Oct. 28, 2005–Jan. 15, 2006, Divine and Human: Women in Ancient Mexico and Peru: March 3, 2006–May 28, 2006, and Dreaming Their Way: Australian Aboriginal Women: June 30, 2006–Sept. 24, 2006.
The permanent collection currently contains works by nearly 1,000 artists. Among the earliest works is Lavinia Fontana’s Portrait of a Noblewoman, ca. 1580. Other artists represented include: Magdalena Abakanowicz, Louise Bourgeois, Lola Alvarez Bravo, Rosalba Carriera, Mary Cassatt, Elizabeth Catlett, Louisa Courtauld, Petah Coyne, Louise Dahl-Wolfe, Elaine de Kooning, Lesley Dill, Helen Frankenthaler, Marguerite Gérard, Nan Goldin, Nancy Graves, Grace Hartigan, Frida Kahlo, Angelica Kauffman, Käthe Kollwitz, Lee Krasner, Marie Laurencin, Judith Leyster, Maria Martinez, Maria Sibylla Merian, Joan Mitchell, Gabriele Münter, Elizabeth Murray, Alice Neel, Louise Nevelson, Georgia O’Keeffe, Sarah Miriam Peale, Clara Peeters, Lilla Cabot Perry, Jaune Quick-to-See Smith, Rachel Ruysch, Elisabetta Sirani, Joan Snyder, Lilly Martin Spencer, Alma Thomas, Suzanne Valadon, Chakaia Booker, and Elisabeth Louisa Vigée-Lebrun.
- Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.)
I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com
and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
- Connection Not Secure messages? Those warnings you get from your browser about this site not having secure connections worry some people. This means this site does not have SSL installed (the link is http:, not https:). That's bad if you're entering credit card numbers, passwords, or other personal information. But this site doesn't collect any personal information so SSL is not necessary. Life's good!
- Photo Contact: [Email Bruce Guthrie].