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ahimaov.bsky.social
Art Histories, its Mysteries and Other Victories is, fundamentally, a critique of art history’s Eurocentric and chauvinistic paradigm, showing you the artists and artworks the canon would rather you forget. https://www.ahimaov.com/
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Prolific Poster

Yayoi Kusama, Sex Obsession (1992). Synthetic polymer paint on canvas, dimensions unknown. Private collection of Lito and Kim Camacho. #ahimaov #yayoikusama #kusama #arthistory #contemporaryart #contemporaryartist #japaneseart #japaneseartist

Isabel Rawsthorne, Alan Rawsthorne (1966). Oil on canvas, 65.8 x 81.3 cm. National Portrait Gallery, U.K. #ahimaov #arthistory #isabelrawsthorne #abstractexpressionism #francisbacon #lucianfreud #britishart

Toyen, Summer (1931). Oil on canvas, 73 x 100 cm. National Gallery Prague. #ahimaov #toyen #arthistory #art #surrealism #surrealistart

Paula Modersohn-Becker, Self-Portrait with Two Flowers in Her Raised Left Hand (1907). Oil on canvas, 55.2 x 24.8 cm. The Museum of Modern Art, and Neue Galerie, U.S.A. #ahimaov #paulamodersohnbecker #arthistory #portraiture #expressionism #modernism #modernart

Explore the myths surrounding Kandinsky that work to place him within art history’s favourite misunderstood genius paradigm – his pioneering of Abstraction and synesthesia driving the development of his particular brand of Abstract art and his corresponding theories. #ahimaov #kandinsky #abstractart

Coming up May 10 - Art with Tosca offers the small 2-hour group tour Her Brush, Her Story: Celebrating Artists, Muses, and Advocates at the National Gallery of Art, www.eventbrite.com/e/her-brush-...

Ishiuchi Miyako, Mother’s #36 [lipstick] (2002, printed 2018). Chromogenic print, 108 × 74.9 cm. The Metropolitan Museum of Art, New York, U.S.A. #ahimaov #ishiuchimiyako #photography #japaneseart

Marie Bashkirtseff’s painting of an orphanage child in ‘The Umbrella’ (1883), one of her few works to survive WW2, was painted just before she died from TB at 25. Her journal became a widely-praised novelistic account of 19C European life publicdomainreview.org/essay/marie-...

Guerrilla Girls, 'The Advantages Of Being A Woman Artist' poster, 1988 #womensart

Nyurapayia Nampitjinpa, Alice Nampitjinpa, Tjunkiya Napaltjarri, Wintjiya Napaltjarri, Irene Nangala and Katarra Nampitjinpa, Untitled, fabric length (1994). Batik on cotton, 196 x 111.8 cm. National Gallery of Victoria, Australia. #ahimaov #arthistory #australianart #firstnationsart #indigenousart

Celebrating the life and work of Jenny Saville who was born on this day (07/05) in 1970. #ahimaov #jennysaville #arthistory #womenartists #feministarthistory

Jenny Saville, Reverse (2002-03). Oil on canvas, 213.4 x 243.8 cm. Gagosian Gallery, U.K. #ahimaov #jennysaville #arthistory #womenartists #feministarthistory

Evelyn De Morgan, The Angel of Death I (1880). Oil on canvas, 93 x 112.8 cm. De Morgan Centre, U.K.

In the 1970s Judy Chicago set out to create a new "framework for reality" that incorporated the feminine condition without parenthesising women’s stories or merely inserting them into already written narratives of (male) art history. The result was The Dinner Party.

Joan Mitchell, Untitled (c.1962). Oil on canvas, 228.9 x 206.3 cm. Joan Mitchell Foundation, U.S.A.

Tarsila do Amaral, I'm from Favela (1924). Oil on canvas, 64.5 x 76 cm. Private collection of Hecilda and Sergio Fadel, Rio de Janeiro.

Adélaïde Labille-Guiard, Madame Victoire of France (1788). Oil on canvas, 271 x 165 cm. Château de Versailles, France.

Grace Crowley, Portrait study (1928). Oil on canvas, 79.2 x 59.8 cm. National Gallery of Australia, Canberra.

Carrie Mae Weems, Untitled (Man and Mirror), from The Kitchen Table series (1990). Gelatin silver print, 36.5 × 36.5 cm. The Art Institute of Chicago, U.S.A.

Celebrating the life and work of Olga Boznańska who was born on this day (15/04) in 1865.

Olga Boznańska, Self-portrait with Folded Hands (1893). Oil on canvas, 70 x 57 cm. National Museum in Warsaw, Poland.

Natalia Goncharova, Still Life with Fruit, Open Book and Pot Flowers (1908–09). Oil on canvas. 112 х 121 cm. The State Russian Museum, Saint Petersburg, Russia.

Artemisia Gentileschi, Self-Portrait as a Lute Player, 1616 #womensart

Yevonde, Elizabeth Mary (née Maugham), Lady Glendevon (1936). Vivex colour print, 36.1 x 27.1 cm. National Portrait Gallery, U.K.

Blanche-Augustine Camus, Woman Reading on a Terrace (year unknown). Oil on canvas, 92.1 x 73.7 cm. Private collection.

Clara Peeters, Garland with a Landscape (1680-1700). Oil on canvas, 90 x 71 cm. Museo del Prado, Spain.

Leonora Carrington, The Temptation of St. Anthony (1945). Oil on canvas, 122 x 91 cm. Private collection.

www.theguardian.com/artanddesign... ‘Nothing stopped her’: the 136 reasons why Vanessa Bell is breaking free of Bloomsbury – Katy Hessel on a new exhibition at Charleston in Lewes, that brings together 136 works by the artist!

Elizabeth Sparhawk-Jones, The Shoe Shop (c.1911). Oil on canvas, 99 × 84.2 cm. Art Institute of Chicago, U.S.A., The William Owen Goodman and Erna Sawyer Goodman Collection.

Elsa Celsing, Portrait of Esther Cajanus (1937). Oil on canvas, 73 x 89 cm. Västerås Art Museum, Sweden.

Sybil Craig, Peggy (c.1932). Oil on canvas, 40.4 × 30.4 cm. National Gallery of Victoria, Melbourne, Australia.

Picasso was a misogynistic ass but cubism was still an artistic breakthrough

Suzanne Duchamp, Young Girl with a Dog (1912). Oil on canvas, 92 x 73 cm. Centre Pompidou, France.

Siddall, NOT Siddal. But why do historians still insist on the single ‘L’?

Blanche-Augustine Camus, Au Jardin en Provence (1904). Oil on canvas, dimensions unknown. Musée des Beaux-Arts Jules Chéret, France.

"Stairway to Heaven" by Alexander Hadji

Élisabeth Vigée Le Brun, The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien (1787). Oil on canvas, 123.4 x 155.9 cm. National Gallery of Art, U.S.A.

Mary Beale, Self Portrait, Holding an Artist's Palette (c.1675). Oil on canvas, 45.7 x 38.1 cm. West Suffolk Heritage Service, U.K.

"It's not a time about which great tales will be written, but so many people live like that every day and don’t seek a next chapter at all."

I don’t suffer from delusions of grandeur… I enjoy them.

Angelina Pwerle, Bush Plum Dreaming (2010). Synthetic polymer paint on canvas, mounted to masonite, 118.1 × 199.4 cm. Metropolitan Museum of Art, New York, U.S.A.

What happens when the wealthy elite manipulates the power of their wealth to silence and erase unfavourable depictions or to falsify the historical narrative art writes? open.substack.com/pub/ahimaov/...

Mary Cassatt, On a Balcony (1878-79). Oil on canvas, 85.2 × 65.5 cm. Art Institute of Chicago, U.S.A.

Just fyi: A new book will make you feel better