Sunday, August 28, 2011


Francisca Bravo





I attended Southampton College of Art many years ago enjoying a Foundation Art year followed by a 3 year Fashion Design degree. This resulted in a move to London for a few years working in the 'Rag Trade' in West End fashion houses.

Coming from a Fashion Design background the main content of my work is figurative. I am very inspired by Art Deco and the artists of its time.

The styles of different eras and cultures facinate me and are the focus of most of my work although I also paint contemporary and abstract pieces.

I enjoy researching and reinterpreting images onto canvas and experimenting with surface treatment using mixed media and acrylic to create rich and interesting textures. I have recently worked with oil paint which encourages me to be more adventurous with colour.

My African collection was inspired by trips to Kenya and The Gambia.


Cassatt MaryStevenson 1891

Mary Stevenson Cassatt (pronounced /kəˈsæt/; May 22, 1844 – June 14, 1926) was an American painter and printmaker. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.

She was described by Gustave Geffroy in 1894 as one of "les trois grandes dames" of Impressionism alongside Marie Bracquemond and Berthe Morisot.

Mary Stevenson Cassatt (Allegheny City, Pennsylvania, 22 de mayo de 1844 – Château de Beaufresne, cerca de París, 14 de junio de 1926) fue una pintora estadounidense.

Nació en Allegheny City, ciudad que actualmente forma parte de la de Pittsburgh. Perteneció a una familia acomodada en la que la educación era muy valorada y en un ambiente que concedía gran importancia a la cultura de viajar. Los negocios de su padre le permitieron ya durante su infancia pasar cinco años en Europa y visitar las principales capitales, como Londres, París o Berlín; durante esta estancia aprendió idiomas y recibió sus primeras clases de música y dibujo.

Fanny Fluery
French, 1848-1920



"The Sunflower Quilting Bee at Arles," Faith Ringgold, 1996,





I attended Southampton College of Art many years ago enjoying a Foundation Art year followed by a 3 year Fashion Design degree. This resulted in a move to London for a few years working in the 'Rag Trade' in West End fashion houses.

Coming from a Fashion Design background the main content of my work is figurative. I am very inspired by Art Deco and the artists of its time.

The styles of different eras and cultures facinate me and are the focus of most of my work although I also paint contemporary and abstract pieces.

I enjoy researching and reinterpreting images onto canvas and experimenting with surface treatment using mixed media and acrylic to create rich and interesting textures. I have recently worked with oil paint which encourages me to be more adventurous with colour.

My African collection was inspired by trips to Kenya and The Gambia.

A Portrait of a Woman playing the Lute, possibly a Self-Portrait of the Artist, c.1615
by Artemisia Gentileschi

Artemisia Gentileschi (July 8, 1593–1652)[1] was an Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio. In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence.

She painted [many] pictures of strong and suffering women from myth and the Bible - victims, suicides, warriors - and made a speciality of the Judith story. Her best-known image, Judith Beheading Holofernes shows the decapitation of Holofernes, a scene of horrific struggle and blood-letting."

temisia Lomi Gentileschi (Roma, 8 de julio de 1593 - Nápoles, hacia 1654) fue una pintora caravaggista italiana, hija del pintor toscano Orazio Gentileschi (1563-1639).

Vivió en la primera mitad del siglo XVII. Tomó de su padre, Orazio, el límpido rigor del dibujo, injertándole una fuerte acentuación dramática, tomada de las obras de Caravaggio, cargada de efectos teatrales; elemento estilístico que contribuyó a la difusión del caravaggismo en Nápoles, ciudad a la que se trasladó en 1630

Urban Envy


Born in Hiroshima, Japan, Urban Envy's works have traces of her political beliefs and her own cultural bridges.

In 1999 she founded AlterAsian (1999 - 2007): an alternative Asian-American web magazine which in 2000 was chosen as one of "Top 20 Asian-American Websites that Stand Out From the Crowd" by A-magazine: Inside Asian-America.

In 2003, she was one of the original members of The Federation of East Village Artists (FEVA-NYC). FEVA-NYC promotes opportunities for artists today while honoring the work of legendary community members by working collectively with local artists, arts organizations, business owners, community groups, and the public. Their signature activity is the annual HOWL! Festival of East Village Arts, which celebrates the neighborhood's role as the cradle of counterculture.

In 2005, she co-founded the New York Tributary Art Movement with 3 other New York City Artists. NY Tributary is an art movement that brings together various artistic disciplines by concentrating on the process and the message of the art work. The NY Tributary also works to bring art to the "mainstream" by their street based performances, activities, and showings.

In 2006, she founded the Project: 2020 Suzie Wong which attempts to bring awareness and social change through art. Project: 2020 uses the novel/film character "Suzie Wong" from The World of Suzie Wong as a "SYMBOL" of historical and current racism and discrimination against Asian women in the western world and attempts to change the image of Asian women within mainstream America.

Urban Envy's works can be seen in local galleries of New York City and she has over the years fulfilled various private commissions

Cynthia Tom

Cynthia Tom is a visual multi-media artist, passionate about social justice, women’s issues and playing with the accepted norm. Surrealism provides the vehicle for her ideas to take form and ruminate, solutions discovered and color to inspire.
Cynthia is a seeker and philosopher about issues in our lives, her ancestors and the community of women. Her new artistic paths are inspired by dialog with friends and family, forming new themes and stories for her work, collaboration and brainstorming are her passion. Symbols, cues and clues fill her art, which is described as “Cultural Surrealism”.

Amber Baron



Roisin O´Farrell


EL Sueño

Alicia Cucurella C.



Pamela Andrea Holley

La Serena

Bluebird in my heart

Lena Rushing


Roisin O'Farrell

Georgia O'Keeffe, Ram's Head White Hollyhock and Little Hills, 1935, the Brooklyn Museum
Georgia O'Keeffe was born in the late 19th century. She became known for her paintings, featuring flowers, bones, and landscapes of New Mexico.

Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist.

Born near Sun Prairie, Wisconsin, O'Keeffe first came to the attention of the New York art community in 1916, several decades after women had gained access to art training in America’s colleges and universities, and before any of its women artists were well known or highly celebrated. Within a decade, she had distinguished herself as one of America's most important modern artists, a position she maintained throughout her life. As a result, O’Keeffe not only carved out a significant place for women painters in an area of the American art community that had been exclusive to and is still dominated by men, but also she had become one of America’s most celebrated cultural icons well before her death at age 98 in 1986.

Georgia O'Keeffe (Sun Prairie, Wisconsin, 15 de noviembre de 1887 - Santa Fe, Nuevo México - 6 de marzo de 1986). Artista estadounidense, una de las pintoras mas celebradas de Estados Unidos, fue pionera en el campo de las artes visuales y famosa residente de Nuevo México.

Tamara de Lempicka, The Musician, 1929

Tamara de Lempicka (Łempicka) (May 16, 1898–March 18, 1980), born Maria Górska in Warsaw, in partitioned Poland, was a Polish Art Deco painter and "the first woman artist to be a glamour star."

Tamara de Lempicka o Tamara Łempicka (pronunciado Uempitsca), nacida Maria Górska, (Varsovia, Polonia, 16 de mayo de 1898 - Cuernavaca, México, 18 de marzo de 1980) fue una pintora polaca que destacó por la belleza de sus retratos femeninos y desnudos, de pleno estilo art decó.

Berthe Morisot, L'Enfant au Tablier Rouge, 1886,
American Art Museum

Berthe Morisot (January 14, 1841 – March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of the "le trois grandes dames" of Impressionism alongside Marie Bracquemond and Mary Cassatt.[1]

In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons[2] until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.

She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugène.

Berthe Morisot (Bourges, Francia; 14 de enero de 1841 - París; 2 de marzo de 1895), pintora impresionista francesa.

Nacida en en Bourges, en el seno de una familia burguesa, fue precisamente su familia quien animó a Berthe y a su hermana Edma a iniciarse en el arte. Morisot demostró la posibilidades de las mujeres en las artes a fines del siglo XIX.

A la edad de 20 años, Berthe Morisot conoció a Camille Corot, importante paisajista de la Escuela de Barbizon. Éste la admitió como su discípula y la introdujo en los círculos artísticos

Suzanne Valadon, Self-portrait, 1883

Suzanne Valadon (23 September 1865 – 7 April 1938) was a French painter born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France. In 1894, Valadon became the first woman painter admitted to the Société Nationale des Beaux-Arts. She is also the mother of painter Maurice Utrillo.

Suzanne Valadon, cuyo verdadero nombre era Marie-Clémentine Valade, nacida el 23 de septiembre de 1867 en Bessines-sur-Gartempe (Haute-Vienne) y fallecida el 7 de abril 1938 en París, era una pintora francesa

Self-portrait with two pupils, by Adélaïde Labille-Guiard, 1785,
the two pupils are Marie Capet and Carreaux de Rosemond

Adélaïde Labille-Guiard (11 April 1749 – 24 April 1803), also known as Adélaïde Labille-Guiard des Vertus, was a French miniaturist and portrait painter.

Adélaïde Labille-Guiard (París, 11 de abril de 1749 – 24 de abril de 1803) fue una pintora francesa, dedicada a temas de historia y retratos.

Adélaïde era hija de un mercero. Aprendió a pintar miniaturas con François-Elie Vincent y óleo con su hijo François-André. Sus primeras obras se expusieron en la Académie de Saint-Luc, y después de que cerrara en 1776, en el Salon de la Correspondance. Se casó con Louis-Nicolas Guiard en 1769, pero se separó de él en 1777. Posteriormente, se ganó la vida enseñando a pintar.

El 31 de mayo de 1783, Labille-Guiard fue aceptada como miembro de la francesa Real Academia de Pintura y Escultura. Otras tres mujeres, entre las que estaba Vigée-Le Brun, fueron admitidas como miembros ese mismo día, con cierta consternación por parte de algunos miembros masculinos. La aceptación de las mujeres juntas creó una comparación entre su obra más que con la obra de los miembros precedentes, aliviando así las preocupaciones de los miembros antiguos

Mary Cassatt, Tea, 1880, oil on canvas,
Museum of Fine Arts, Boston

Mary Stevenson Cassatt (pronounced /kəˈsæt/; May 22, 1844 – June 14, 1926) was an American painter and printmaker. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.

She was described by Gustave Geffroy in 1894 as one of "les trois grandes dames" of Impressionism alongside Marie Bracquemond and Berthe Morisot.

Mary Stevenson Cassatt (Allegheny City, Pennsylvania, 22 de mayo de 1844 – Château de Beaufresne, cerca de París, 14 de junio de 1926) fue una pintora estadounidense.

Nació en Allegheny City, ciudad que actualmente forma parte de la de Pittsburgh. Perteneció a una familia acomodada en la que la educación era muy valorada y en un ambiente que concedía gran importancia a la cultura de viajar. Los negocios de su padre le permitieron ya durante su infancia pasar cinco años en Europa y visitar las principales capitales, como Londres, París o Berlín; durante esta estancia aprendió idiomas y recibió sus primeras clases de música y dibujo.

Edmonia Lewis, The Death of Cleopatra detail, marble, 1876, Smithsonian American Art Museum

Mary Edmonia Lewis (ca. July 4, 1845–September 17, 1907) was the first African American and Native American woman to gain fame and recognition as a sculptor in the international fine arts world. She was of African American, Haitian and Ojibwe descent.

Edmonia Lewis 1845-1907 Escultora Afro-Americana, y Nativo americana, fue la primera escultora en ganar fama internacional.

Elizabeth Thompson, Remnants of an Army, 1879,
She specialized in military scenes.

Elizabeth Southerden Thompson, Lady Butler (3 November 1846 – 2 October 1933) was a British painter, one of the few female painters to achieve fame for history paintings, especially military battle scenes, at the end of that tradition. She was married to Lieutenant General Sir William Butler.

Rosa Bonheur, The Horse Fair, 1853–1855,
Metropolitan Museum of Art, New York

Rosa Bonheur, born Marie-Rosalie Bonheur, (16 March 1822 – 25 May 1899) was a French animalière, realist artist, and sculptor. As a painter she became famous primarily for two chief works: Ploughing in the Nivernais (in french: Le labourage nivernais, le sombrage),[1] which was first exhibited at the Salon of 1848, and is now in the Musée d’Orsay in Paris depicts a team of oxen ploughing a field while attended by peasants set against a vast pastoral landscape; and, The Horse Fair (in French: Le marché aux chevaux)[2] (which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur is widely considered to have been the most famous female painter of the nineteenth century

Marie Rosalie Bonheur, llamada Rosa Bonheur (Burdeos, 18 de marzo de 1822 – Thomery, 25 de mayo de 1899) fue una pintora francesa que se especializó en la representación de animales.

[editar] BiografíaSu padre, Raymond Bonheur, fue pintor, y la ayudó desde que ella era aún una niña. Su madre, de padre desconocido, fue adoptada por un rico comerciante bordelés, Jean-Baptiste Dublan de Lahet. Rosa Bonheur se complacía en imaginar que el misterio de sus orígenes ocultaba algún secreto de estado, que era de sangre real, pero se actualmente se sabe que su protector, Dublan de Lahet, era en realidad su abuelo.

Pasó varios años en el campo, en el Château Grimont (Quinsac) donde se ganó la reputación de marimacho («Yo era el más muchacho de todos»), reputación que la siguió toda su vida y que no buscó desmentir, ya que llevaba el cabello corto y fumaba habanos.

Marie Ellenrieder, Self portrait as a painter, 1819

Anna Marie Ellenrieder (March 20, 1791 – June 5, 1863, Konstanz) was a German painter.

She was born in Konstanz, Germany, the daughter of Konrad and Anna Maria Herrmann, and the granddaughter of Franz Ludwig Herrmann.

She studied under the miniature painter Joseph Einsle. Her portraits, similar in style to the ones of Angelica Kauffmann, made her the first woman to enter the Academy of Fine Arts Munich.

She spent the time between 1822 and 1824 in Rome, where she became a disciple of Friedrich Johann Overbeck. After this journey, she started painting religious topics such as "Christ Blessing Little Children" and "Mary and the Infant Jesus." Her two paintings "Der 12 jährige Jesus im Tempel / The 12 year old Jesus in the Temple", 1849 (oil on canvas, 203,2 x 139,7 cm) and "Hl Felicitas und ihre sieben Söhne / Holy Felicitas and her Seven Sons", 1847 (oil on canvas, 127 x 177,8 cm) were acquired by Queen Victoria who had been introduced to her work by the Prince Consort, who in turn had encountered the artist on his travels to Rome. They are now part of the Royal Collection in Osborne House.

She died in her home town of Konstanz.

Marie-Denise Villers, Self-portrait, Young Woman Drawing 1801, Metropolitan Museum of Art

Marie-Denise Villers (1774 – August 19, 1821) was a French painter, who specialized in portraits. She was born Marie-Denise Lemoine in Paris. She came from an artistic family, and her sisters Marie-Victoire Lemoine and Marie-Élisabeth Gabiou were also accomplished artists. In 1794, Marie-Denise married an architecture student, Michel-Jean-Maximilien Villers.

Villers was a student of the French painter Anne-Louis Girodet de Roussy-Trioson. She was first exhibited at the Paris Salon of the Year VII (1799). Villers' most famous painting, Young Woman Drawing, (1801) is displayed in the Metropolitan Museum of Art. The painting was attributed to Jacques-Louis David at one time, but was later realized to be Villers' work. It may be a self-portrait of the artist.

Marguerite Gérard, First steps, oil on canvas, ca. 1788

Marguerite Gérard (28 January 1761 in Grasse – 18 May 1837 in Paris)[1] was a French painter and etcher. She was the daughter of Marie Gilette and perfumer Claude Gérard. At 8 years-old she became the sister-in-law of Jean-Honoré Fragonard, and when she was 14 she became his pupil, and she often worked with him. She was also the aunt of the artist Alexandre-Évariste Fragonard.

Marguerite Gérard (Grasse, 1761 - París, 1837) fue una pintora francesa.

Hija del perfumero de Grasse Claude Gérard, fue cuñada de Jean Honoré Fragonard y alumna y colaboradora de este último.

Maria Cosway, Self-portrait, 1787

Maria Cosway (1760–1838) was an Anglo-Italian artist, who exhibited at the Royal Academy of Arts in London. She also worked in France, where she cultivated a large circle of friends and clients, and later in Italy. She commissioned the first portrait of Napoleon to be seen in England. Her paintings and engravings are held by the British Museum, the New York Public Library and the British Library. Her work was included in recent exhibits at the National Portrait Gallery in London in 1995-1996 and the Tate Britain in 2006.

Cosway was also an accomplished composer, musician, and society hostess. She is notable as a romantic interest of the American statesman Thomas Jefferson in 1786 while he served as the American envoy to Paris. They kept up a lifelong correspondence until his death in 1826.

Cosway founded a girls' school in Paris, which she directed from 1803 to 1809. Soon after it closed, she founded a Catholic convent and girls' school in Lodi, which she directed until her death.

Maria Cosway 1760-1838 Pintora Italiana.

Anna Dorothea Therbusch, Self-portrait, 1777

Anna Dorothea Therbusch (born Anna Dorothea Lisiewski, Polish: Anna Dorota Lisiewska, 23 July 1721 – 9 November 1782) was a prominent Rococo painter born in the Kingdom of Prussia. About 200 of her works survive, and she painted at least eighty-five verified portraits

Anna Dorothea Therbusch 1721-1782 Pintura Prussiana

Ulrika Pasch, Self portrait, c. 1770

Ulrika Fredrica Pasch (10 July 1735 – 2 April 1796), also known as Ulla Pasch, was a Swedish painter and miniaturist. She was one of few female artists known in Scandinavia before the 19th century. She was a member of the Royal Swedish Academy of Arts (1773).

Ulrika Fredrica Pasch 1735-1796 Pintora Sueca miniaturista.

Rosalba Carriera (1675–1757), Self-portrait 1715

Rosalba Carriera (October 7, 1675 – April 15, 1757) was a Venetian Rococo painter. In her younger years, she specialized in portrait miniatures. She later became known for her pastel work, a medium appealing to Rococo styles for its soft edges and flattering surfaces.

Rosalba Carriera (Venecia; 7 de octubre de 1675 — ibidem; 15 de abril de 1757); pintora italiana, perteneciente al estilo rococó. En su juventud se especializó en retratos miniatura. Después será conocida por su trabajo en pasteles, un medio muy apreciado en el ambiente rococó por sus suaves perfiles y floridos toques. Lanzó la moda de la pintura al pastel durante su estancia en París en 1720.

Elisabeth Vigee-Le Brun (1755–1842), Self-portrait, c. 1780s one of many she painted for sale

Louise Élisabeth Vigée Le Brun (Marie Élisabeth Louise; 16 April 1755 – 30 March 1842) was a French painter, and is recognized as the most famous female painter of the 18th century. Her style is generally considered Rococo and shows interest in the subject of neoclassical painting. Vigée Le Brun cannot be considered a pure Neoclassist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. In her choice of color and style while serving as the portrait painter to Marie Antoinette, Vigée Le Brun is purely Rococo.

Marie-Louise-Élisabeth Vigée-Lebrun (París; 16 de abril de 1755 - Louveciennes; 30 de marzo de 1842). Fue la pintora francesa más famosa del siglo XVIII.

Nació en la ciudad de París. Fue hija de un retratista del que recibió sus primeras lecciones, aunque ella se benefició más de los consejos de Gabriel François Doyen, Jean-Baptiste Greuze, José Vernet y otros maestros del periodo. Durante su adolescencia, pintaba ya retratos de manera profesional. Cuando su estudio fue embargado por pintar sin licencia, buscó afiliarse a la Académie de Saint Luc, que exhibió su trabajo voluntariamente en su salón. El 25 de octubre de 1774 fue hecha miembro de la Academia Francesa.

Angelika Kauffmann, Literature and Painting, 1782, Kenwood House

Maria Anna Angelika/Angelica Katharina Kauffman (30 October 1741 – 5 November 1807) was a Swiss-Austrian Neoclassical painter. Kauffman (not Kauffmann) is the preferred spelling of her name; it is the form she herself used most in signing her correspondence, documents and paintings.

Maria Anna Angelika/Angelica Katharina Kauffmann (30 de octubre de 1741 – 5 de noviembre de 1807) fue una pintora suizo-austriaca

Mary Beale, Self-portrait, c. 1675–1680

Mary Beale (née Cradock) (26 March 1633–1699) was an English portrait painter. She became one of the most important portrait painters of 17th century England, and has been described as the first professional female English painter.

Beale was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. Her father was an amateur painter, and member of the Painter-Stainers' Company, and she was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of 18, she married Charles Beale, a cloth merchant from London - also an amateur painter.

Mary Beale (26 de marzo de 1633-1699) fue una pintora inglesa de retratos y una de las retratistas más importantes del siglo XVII en Inglaterra. Ha sido reconocida como la primera pintora profesional inglesa.

Beale nació en Barrow, Suffolk, hija de John Cradock, un rector puritano. Su madre, Dorothy, murió cuando ella tenía 10 años. Con 18 años Mary contrajo matrimonio con Charles Beale, un comerciante de telas de Londres. Su padre y su marido fueron pintores aficionados, y su padre fue miembro del Gremio de Pintores Tintoreros de Inglaterra, y estaba familiarizado con artistas locales como Nathaniel Thach, Matthew Snelling, Robert Walker y Peter Lely. Ella se convirtió en retratista casi profesional en las décadas de 1650 y 1660, trabajando desde su casa, primero en Covent Garden y más tarde en Fleet Street.

Rachel Ruysch, Still-Life with Bouquet of Flowers and Plums, oil on canvas, Musées Royaux des Beaux-Arts, Brussels

Rachel Ruysch (June 3, 1664 — Amsterdam, August 12, 1750) was a Dutch artist who specialized in still-life paintings of flowers, one of only three significant women artists in Dutch Golden Age painting, of whom Maria van Oosterwijk was also a flower painter, and Judith Leyster mainly not (the German botanic illustrator Maria Sybille Merian also moved to Amsterdam).

She was born in The Hague, but moved to Amsterdam when she was three. Her father Frederik Ruysch, a famous anatomist, and botanist, was appointed a professor there. He gathered a huge collection of rarities in his house. She assisted her father decorating the prepared specimen in a liquor balsamicum with flowers and lace. At fifteen Ruysch was apprenticed to Willem van Aelst, a prominent Delft painter, known for his flower paintings. In 1693, she married a portrait painter, Juriaen Pool (1666–1745), with whom she had ten children. Her sister Pieternel was married to Jan Munnicks, a young man who drew flowers in the Hortus Botanicus Amsterdam. Ruysch was extremely pious.

Rachel Ruysch (La Haya, 3 de junio de 1664 — Ámsterdam, 12 de agosto de 1750) fue una artista neerlandesa que se especializó en el género del bodegón de flores.

Rachel Ruysch se trasladó a vivir a Ámsterdam a los tres años de edad. Su padre, Frederik Ruysch (1638-1731), un famoso anatomista, y botánico, fue nombrado allí profesor. Él reunió una gran colección de rarezas y curiosidades naturales en su casa y Rachel ayudaba a su padre a decorar el ejemplar preparado en un liquor balsamicum con flores y encaje. A los quince años de edad, Ruysch empezó como aprendiz con Willem van Aelst, hasta la muerte de éste en 1683; Van Aelst era un prominente pintor de Delft, conocido por sus cuadros de flores. En 1693, se casó con un retratista, Juriaen Pool (1666-1745), con quien tuvo diez hijos. Su hermana Pieternel se casó con Jan Munnicks, un joven que dibujaba flores en el Jardín Botánico de Ámsterdam. Otra hermana suya, Anna Ruysch (murió después de 1741), fue también pintora, no quedando más que muy escasos datos, más allá de una pintura suya, copia de Jean Mignon, Escena campestre con una ardilla (Staatliche Kunsthalle, Karlsruhe).

Giovanna Garzoni, Still Life with Bowl of Citrons, 1640 (Tempera on vellum),
Getty Museum, Pacific Palisades, Los Angeles, California

Giovanna Garzoni (1600–1670) was an Italian painter of the Baroque era. She was unusual for Italian artists of the time for two reasons: first, in that her themes were mainly decorative and luscious still-lifes of fruits, vegetables, and flowers, and second, because she was a woman.

Garzoni was born in Ascoli Piceno. Her training was with an otherwise unknown painter from her native town of Ascoli Piceno. She gained substantial success at her trade in Rome, Venice, Florence (1642–1651), Naples, and Turin. She was patronized by Cassiano dal Pozzo and Anna Colonna, the wife of Taddeo Barberini. In Turin she painted for Carlo Emanuele II, Duke of Savoy. She returns to Rome in the 1650s. In 1666, Garzoni bequeathed her entire estate to the Roman painters' guild the Accademia di San Luca, on condition that they build her tomb in their church of Santi Luca e Martina. Her tomb monument by Mattia De Rossi is to the right of the entrance. Laura Bernasconi was also a woman painter of still-life flowers in Rome in the 1670s. In Rome, she would have been a contemporary of Caterina Ginnasi.

Giovanna Garzoni, (1600-1670) pintora Italiana de la epoca barroca.Pionera en la pintura de frutas y vegetales, ademas por ser mujer.

Judith Leyster, Self-portrait, 1630,
National Gallery of Art, Washington, D.C.

Judith Jans Leyster (also Leijster) (July 28, 1609 – February 10, 1660) was a Dutch Golden Age painter. She was one of three significant women artists in Dutch Golden Age painting; the other two, Rachel Ruysch and Maria van Oosterwijk, were specialized painters of flower still-lifes, while Leyster painted genre works, a few portraits, and a single still life. The number of surviving works attributed to her varies between fewer than 20 and about 35. She largely gave up painting after her marriage, which produced five children.

Judith Jans Leyster (también Leijster) (Haarlem, 28 de julio de 1609– Heemstede, 10 de febrero de 1660) fue una pintora holandesa que trabajó con formatos de dimensiones variadas. Cultivó las obras de género, los retratos y los bodegones.

Leyster era la octava hija de Jan Willemsz Leyster, un cervecero y sastre local. No se conocen bien los detalles de su formación. Ya en su juventud era suficientemente conocida como para ser mencionada en un libro holandés de Samuel Ampzing titulado Beschrijvinge ende lof der stadt Haerlem, escrito originariamente en 1621, revisado en 1626-27, y publicado en 1628.

Josefa de Ayala (Josefa de Óbidos), Still-life, c.1679, Santarém, Municipal Library

Josefa de Óbidos (1630 – 2 July 1684) was a Spanish-born, Portuguese painter from the seventeenth century. Her birth name was Josefa de Ayala Figueira, but she signed her work as, "Josefa em Óbidos" or, "Josefa de Ayalla". She is one of the relatively few female European painters known to have been active in the Baroque era. All of her work was executed in Portugal, her father's native country, where she lived from the age of four

Josefa de Ayala, más conocida como Josefa de Óbidos, es la más destacada pintora de la segunda mitad del XVII portugués, y uno de los pocos casos de mujeres que destacaron en la pintura en toda la historia del arte universal de la edad moderna.

Hacia el año 1626, cuando Portugal y España estaban unificados, Baltasar Gómez Figueira, natural de Óbidos y segundón de una familia acomodada, marchó a Sevilla con inención de ingresar en la carrera militar, pero acabó ganándose la vida en el taller del pintor Francisco Herrera el Viejo donde se ocupaba de hacer las pinturas y preparar las telas.

Louise Moillon The Fruit Seller, (1631).

Louise Moillon (1610–1696) was a French painter in the Baroque era. She became known as one of the best female still life painters during her time, and worked for King Charles I of England, as well as the French nobility.

[edit] BiographyMoillon came from a strict Calvinist family. Her father, brother Isaac, and stepfather were both paint dealers and artists themselves.[1] According to the RKD, Louise (also known as Louisa) learned to paint from her father Nicolas Moillon and Francois Garnier. She gained her particular style of still life painting from the Académie de Saint-Germain-des-Prés. She usually signed her paintings with Louyse Moillon.[2] Moillon lived and worked in France her whole life.

Louise Moillon (o Louÿse) (1610 - 1696), fue una pintora francesa especializada en bodegones.

[editar] BiografíaNacida en París, en el seno de una familia de pintores protestantes, fue hija del pintor Nicolás Moillon. muerto en 1619. Su madre contrajo nuevo matrimonio un año más tarde con François Garnier, pintor de naturalezas muertas y marchante de pintura, con quien se formó Louise junto con su hermano Isaac, también pintor.

Entre 1630, año de la muerte de su madre, y 1640 Luise trabajó activamente como pintora de bodegones, a los que ocasionalmente incorporó figuras humanas. Con una evidente influencia de la pintura holandesa y flamenca, aunque empleando una gama de colores más reducida, sus motivos más frecuentes son los frutales, generalmente en pequeño número y analizados con encantadora rusticidad.[1] Corresponden a esta etapa la mayor parte de los alrededor de cuarenta bodegones de su mano que se conocen en la actualidad. En 1640 contrajo matrimonio con Étienne Girardot de Chancourt, un rico comerciante de maderas de París y hugonote, pero Louise no abandonó por completo la pintura, que continuó practicando hasta 1682

Lavinia Fontana, Minerva Dressing, 1613,
Galleria Borghese, Rome

Lavinia Fontana (August 24, 1552 – August 11, 1614) was an Italian painter.

Lavinia Fontana was born in Bologna, the daughter of the painter Prospero Fontana, who was a prominent painter of the School of Bologna at the time and served as her teacher. Continuing the family business was typical at the time.

Her earliest known work, " Monkey Child" , was painted in 1575 at the age of 23. Though this work is now lost, another early painting, Christ with the Symbols of the Passion, painted in 1576 is now in the El Paso Museum of Art.[1] She would go on to paint in a variety of genres. Early in her career, she was most famous for painting upper-class residents of her native Bologna. She began her commercial practice by painting small devotional paintings on copper, which had popular appeal as papal and diplomatic gifts, given the value and lustre of the metal.[2] She later created paintings of male and female nudes and large scale religious paintings.

Fontana married Paolo Zappi (alternately spelled Paolo Fappi) in 1577. She gave birth to 11 children, though only 3 outlived her. After marriage, Fontana continued to paint to support her family. Zappi took care of the household and served as painting assistant to his wife, including painting minor elements of paintings like draperies.

Fontana and her family moved to Rome in 1603 at the invitation of Pope Clement VIII. She gained the patronage of the Buoncompagni, of which Pope Gregory XIII was a member. Lavinia thrived in Rome as she had in Bologna and Pope Paul V himself was among her sitters.

Some of her portraits, often lavishly paid for, have been wrongly attributed to Guido Reni. Chief among these are Venus; The Virgin lifting a veil from the sleeping infant Christ; and the Queen of Sheba visiting Solomon. Her self-portrait – in youth she was said to have been very beautiful – was perhaps her masterpiece; it belongs to Count Zappi of Imola, the family into which Lavinia married.

While her youthful style was much like her father's, she gradually adopted the Carracciesque style, with strong quasi-Venetian coloring. She was elected into the Accademia di San Luca of Rome, and died in that city on August 11, 1614.

There are over 100 works that are documented, but only 32 signed and dated works are known today. There are 25 more that can be attributed to her, making hers the largest oeuvre for any female artist prior to 1700. Sofonisba Anguissola may have been an influence on her career.

Fede Galizia, Judith with the Head of Holofernes 1596,
the figure of Judith is believed to be a self-portrait

Fede Galizia (1578 – 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Fede Gallizi, better known as Galizia, was born in Milan in 1578. Her father, Nunzio Galizia, also a painter of miniatures, had moved to Milan from Trento. Fede (whose name means "faith") learned to paint from him. By the age of twelve, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter and art theorist friend of her father, who wrote, "[T]his girl dedicates herself to imitate our most extraordinary art

Fede Galizia ( Milán, 1578 - 1630) fue una pintora italiana del barroco, pionera del género del bodegón.

Fede Gallizi, mejor conocida como Galizia, nació en Milán en 1578. Su padre, Nunzio Galizia, quien se mudó a Milán desde Trento fue un pintor de miniaturas . De él aprendió Fede[1] a pintar , y se dice que a la edad de doce años era suficientemente considerada artista como para ser mencionada por Giovanni Paolo Lomazzo, pintor y teórico del arte amigo de su padre, de la siguiente forma: «Esta joven se ha dedicado a imitar a nuestros más extraordinarios artistas».

Esther Inglis, Portrait, 1595
Esther Inglis (married name Kello) (1571 – 1624) was a Scottish miniaturist, embroiderer, calligrapher, translator and writer. Of Huguenot origin (her surname was originally spelt Langlois, ie. "English"; Inglis being the Scots word for "English"), her family had escaped to Scotland to escape persecution. Learning calligraphy from her mother, she served as official scribe to her husband.

Inglis produced about 60 known calligraphic manuscripts. These were bound as miniature books.

Ester Inglis (1571-1624) Una minuaturista Escocesa. Aprendio caligrafia de su madre y era la escritora oficial de su marido.

Sofonisba Anguissola, Self-Portrait, 1554

Sofonisba Anguissola was born in Cremona, Lombardy around 1532, the oldest of seven children, six of whom were daughters. Her father, Amilcare Anguissola, was a member of the Genoese minor nobility. Sofonisba's mother, Bianca Ponzone, was also of an affluent family of noble background.

Over four generations, the Anguissola family had a strong connection to ancient Carthaginian history and they named their offspring after the great general Hannibal, thus the first daughter was named after the tragic Carthaginian figure Sophonisba.

Sofonisba Anguissola (también escrito Anguisciola o Anquissola) nació en Cremona (actual Italia) hacia 1532. Era la mayor de siete hermanos, seis de los cuales eran niñas. Su padre, Amilcare Anguissola, era miembro de la baja nobleza genovesa. Su madre, Bianca Ponzone, de familia influyente, falleció cuando Sofonisba contaba entre cuatro y cinco años.

Durante las cuatro generaciones anteriores, la familia tuvo una estrecha conexión con la historia antigua de Cartago, por lo que nombraron a su progenie en honor del gran general Aníbal, llamando a su hija como la trágica protagonista cartaginesa Sofonisba.

Catarina van Hemessen, Self-portrait 1548

Caterina van Hemessen (1528 – after 1587) was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work, and is known for a series of small scale female portraits completed between the late 1540s and early 1550s.[1]

While not an especially gifted artist, Van Hemessen is often given the distinction of creating the first self-portrait of an artist (of either gender) depicted seated at an easel. This portrait, created in 1548, shows the artist in the early stages of painting a portrait and now hangs at the Öffentliche Kunstsammlung in Basel.[2] Other paintings by Hemessen are in the Rijksmuseum in Amsterdam and in the National Gallery, London.

A number of obstacles stood in the way of contemporary women who wished to become painters. Their training would involve both the dissection of cadavers and the study of the nude male form, while the system of apprenticeship meant that the aspiring artist would need to live with an older artist for 4-5 years, often beginning from the age of 9-15. For these reasons, female artists were extremely rare, and those that did make it through were typically trained by a close relative, in van Hemessen's case, by her father.
Es una pena pero no hay informacion en Castellano acerca de esta gran pintora. Me estan danco ganas de hacer una pagina y darle el credito que se merece

Levina Teerlinc, Portrait of Elizabeth I. c. 1565
.Levina Teerlinc (b. Bruges, 1510–1520?; d. London, 23 June 1576) was a Flemish miniaturist who served as a painter to the English court of Edward VI, Mary I and Elizabeth I.

Teerlinc was the oldest daughter of Simon Bening (sometimes written as Benninc or Benninck), the renowned illuminator of the Ghent-Bruges school. Bening probably trained his daughter as a manuscript painter. Teerlinc may have worked in her father’s workshop before her marriage.

Levina Teerlinc , se convirtió en un gran pintora de miniaturas, sobre todo de miniaturas-retrato , y emigró a Inglaterra .

Herrad of Landsberg, Self portrait from Hortus deliciarum, ca. 1180

Herrad of Landsberg (c. 1130 – July 25, 1195) was a 12th century Alsatian nun and abbess of Hohenburg Abbey in the Vosges mountains. She is known as the author of the pictorial encyclopedia Hortus deliciarum (The Garden of Delights).

Born about 1130 at the castle of Landsberg, the seat of a noble Alsatian family. She entered the Hohenburg Abbey in the Vosges mountains, about fifteen miles from Strasbourg, at an early age. She became abbess there in 1167 and continued in that office until her death.

Herrada de Landsberg (nacida hacia 1130 - fallecida el 25 de julio de 1195) fue una monja alsaciana del siglo XII y abadesa de la abadía de Hohenburg en los montes Vosgos. Es conocida principalmente por ser la autora de la enciclopedia pictórica Hortus deliciarum (El Jardín de las delicias).

Herrada de Landsberg nació hacia el año 1130 en el castillo de Landsberg, en la región del Bajo Rhin, en el seno de una noble familia alsaciana. Tomó los hábitos en la abadía de Hohenburg en los montes Vosgos, a unos 15 km de Estrasburgo, a edad temprana. Se convirtió en abadesa en el año 1167 y conservó su posición hasta su muerte.

Hildegard von Bingen, Motherhood from the Spirit and the Water, 1165, from Liber divinorum operum, Benediktinerinnenabtei Sankt Hildegard, Eibingen (bei Rüdesheim)

Santa Hildegarda de Bingen O.S.B. (Alemán: Hildegard von Bingen) (n. 16 de septiembre 1098 en Bermersheim, junto a Alzey en Rheinhessen, Renania-Palatinado, Alemania; † 17 de septiembre 1179 en el monasterio de Rupertsberg, Bingen, id.) fue abadesa, líder monástica, mística, profetisa, médica, compositora y escritora alemana. Es conocida como la Síbila del Rin y como Profetisa teutónica.

Hildegard of Bingen, "Universal Man" illumination from Hildegard's Liber Divinorum Operum, 1165

Blessed Hildegard of Bingen (German: Hildegard von Bingen; Latin: Hildegardis Bingensis) (1098 – 17 September 1179), also known as Saint Hildegard, and Sibyl of the Rhine, was a writer, composer, philosopher, Christian mystic, German Benedictine abbess, visionary, and polymath.[2] Elected a magistra by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama.

She wrote theological, botanical and medicinal texts, as well as letters, liturgical songs, poems, and arguably the oldest surviving morality play, while supervising brilliant miniature Illuminations.

St. Catherine of Bologna (Caterina dei Vigri), (Maria und das Jesuskind mit Frucht), c.1440s.
She is the patron saint of artists.

Santa Caterina de Boloña, es la patrona de las pintoras y pintores por supuesto...

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