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Pages in category "Portraits of women" The following 200 pages are in this category, out of approximately 585 total. ... Female Figure (Velázquez)
The works of A. Kotska are original in style and are distinguished by impeccable coloring. His style is easily recognizable. A kind of visiting card of the artist is a series of female portraits "Gutsulok" and "Verkhovinka". In Kotska's landscapes, the world becomes orderly and organized.
Portrait of a Tearful Woman (1936) by Man Ray. Portrait of Tearful Woman is a hand colored photograph by American visual artist Man Ray, created in 1936.It was originally a black and white photograph but the artist worked it by hand to create the final result.
Catharine Weed Barnes (1851–1913), early female editor of photographic journals, strong supporter of women photographers; Tina Barney (born 1945), large-scale portraits of family and friends; Martine Barrat (date of birth unknown), see France; Ruth-Marion Baruch (1922–1997), series on the Black Panthers and the San Francisco Bay area
Lavinia Fontana (24 August 1552–11 August 1614) was an Italian Mannerist painter active in Bologna and Rome.She is best known for her successful portraiture, but also worked in the genres of mythology and religious painting.
Portrait of May Alcott, Rosa Peckham, 1877, detail. Rosa (Rose) Frances Peckham Danielson, born October 28, 1842, in Killingly, Connecticut, was a nineteenth-century portrait and landscape artist. [1] [2] She was a founder of the Providence Art Club, where she was also the first female board member, serving as secretary and then as vice president.
Study of a Young Woman (also known as Portrait of a Young Woman or Girl with a Veil) [2] [3] is a painting by the Dutch artist Johannes Vermeer, completed between 1665 and 1667, and now in the Metropolitan Museum of Art, New York. The painting was painted around the same time as the better-known Girl with a Pearl Earring and has a near ...
Artemisia was aware of "her position as a female artist and the current representations of women's relationship to art". [60] This is evident in her allegorical self portrait, Self Portrait as "La Pittura", which shows Artemisia as a muse, "symbolic embodiment of the art" and as a professional artist. [60]