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Anieska

@anieska

Art, music, books Cinéma, theater💖« Love is not about property, diamonds and gifts. It is about sharing your very self with the world around you. » Pablo Neruda 🌹 French from Strasbourg, living in Paris, psycho sociologist and management consultant

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Posts 23.11.2024
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Latest posts by Anieska @anieska

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🌷🥂🌷Happy Birthday🌷🥂🌷
Georgia O'Keefe

"I found I could say things with color and shapes that I couldn't say any other way... things I had no words for."

Black Hills II 1944

15.11.2025 10:08 👍 7 🔁 3 💬 1 📌 0
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🎉🥂🎉Georgia O'Keefe🎉🥂🎉

🐈🐈‍⬛🐈Cat lover extraordinaire🐈🐈‍⬛🐈

15.11.2025 10:21 👍 8 🔁 2 💬 1 📌 0

🦜💞🌸🌺 🙏🏻

16.11.2025 07:21 👍 1 🔁 0 💬 0 📌 0

Amazing ♥️♥️♥️
Thanks dear Brindusa 🙏🏻🌺🕊️🌸🌹🦩🌞💐🦚😍

15.11.2025 08:15 👍 2 🔁 0 💬 1 📌 0
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💐🥂💐Happy Birthday💐🥂💐
🌻CLAUDE MONET🌻

"Everyone discusses my art and pretends
to understand, as if it were necessary to
understand, when it is simply necessary
to love."

Self-portrait in his Studio 1884

14.11.2025 11:35 👍 10 🔁 4 💬 2 📌 0
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Cher Romanciere, pintado em Paris, 2015
Juarez Machado 🖌️

14.11.2025 10:06 👍 44 🔁 11 💬 0 📌 0

Bonjour Maria, très belle journée 🌺🌸🍂😘

15.11.2025 08:13 👍 1 🔁 0 💬 0 📌 0
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Claude Monet🖌️
- La Pointe de la Hève at Low Tide

"To see we must forget the name of the thing we are looking at".
CM

Good afternoon dear Brindusa, happy friday

14.11.2025 14:44 👍 7 🔁 4 💬 2 📌 0
French artist Madeleine Lemaire titled the work “Les Fées” (or The Fairies) placing these figures somewhere between Belle Époque society portrait and dreamlike allegory. Painted around 1908, late in her career and shortly after she was awarded the Legion of Honor, the canvas shows how she carried her success as the “empress of roses” into more overtly fantastical scenes, trading garden backdrops for the charged atmosphere of an encounter between women. On this large, vertical oil painting, two light-skinned young women stand pressed together in the foreground, set against a dark, softly blurred backdrop. The 60 x 42 in. canvas is almost human scale, so their bodies feel “close” to us. A blonde figure turns three-quarters toward us, shoulders bare above a low, off-the-shoulder gown made of pale, shimmering fabric gathered closely around her bodice. Her hands a crossed loosely in front of her, as if she is pausing between gestures. Just behind her, a brunette companion leans in, draping her arms along the blonde’s shoulders and looking outward with a small, knowing smile. Both women wear delicate ornaments in their hair and gauzy wraps that fall in long, translucent folds down their backs, suggesting fairy wings without depicting them literally. The space around them dissolves into loose strokes and soft glows rather than a detailed room or landscape, so our attention stays on the closeness of their bodies plus the tilt of heads, the touch of hands, and the shared, intimate pose. Lemaire often painted a brunette clinging to a blonde, and here that pattern invites queer and feminist interpretations as the scene can be read as tender friendship, tipsy confidantes at the end of a ball, or a quietly romantic embrace that slips past polite norms by hiding in the guise of fairies. The painting helps expand Lemaire’s legacy beyond floral still lifes to include images that resist simple, cisheteronormative stories about desire, companionship, and women’s presence.

French artist Madeleine Lemaire titled the work “Les Fées” (or The Fairies) placing these figures somewhere between Belle Époque society portrait and dreamlike allegory. Painted around 1908, late in her career and shortly after she was awarded the Legion of Honor, the canvas shows how she carried her success as the “empress of roses” into more overtly fantastical scenes, trading garden backdrops for the charged atmosphere of an encounter between women. On this large, vertical oil painting, two light-skinned young women stand pressed together in the foreground, set against a dark, softly blurred backdrop. The 60 x 42 in. canvas is almost human scale, so their bodies feel “close” to us. A blonde figure turns three-quarters toward us, shoulders bare above a low, off-the-shoulder gown made of pale, shimmering fabric gathered closely around her bodice. Her hands a crossed loosely in front of her, as if she is pausing between gestures. Just behind her, a brunette companion leans in, draping her arms along the blonde’s shoulders and looking outward with a small, knowing smile. Both women wear delicate ornaments in their hair and gauzy wraps that fall in long, translucent folds down their backs, suggesting fairy wings without depicting them literally. The space around them dissolves into loose strokes and soft glows rather than a detailed room or landscape, so our attention stays on the closeness of their bodies plus the tilt of heads, the touch of hands, and the shared, intimate pose. Lemaire often painted a brunette clinging to a blonde, and here that pattern invites queer and feminist interpretations as the scene can be read as tender friendship, tipsy confidantes at the end of a ball, or a quietly romantic embrace that slips past polite norms by hiding in the guise of fairies. The painting helps expand Lemaire’s legacy beyond floral still lifes to include images that resist simple, cisheteronormative stories about desire, companionship, and women’s presence.

“Les Fées (The Fairies)” by Madeleine Lemaire (French) - Oil on canvas / 1908 - Musées de Sens (France) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MadeleineLemaire #Lemaire #MuseeDeSens #FairyArt #BelleEpoque #BlueskyArt #FrenchArt #art #artText #1900s #arte #FrenchArtist #WomenPaintingWomen

14.11.2025 07:24 👍 73 🔁 15 💬 1 📌 1
A young, light-skinned woman stands in a narrow Parisian doorway, paused mid-step as she prepares to go out. She wears a dark, gleaming silk day dress with a fitted bodice and sweeping skirt, its surface catching the light in soft velvety folds. Wrapped around her shoulders is a luxuriant cashmere shawl, densely patterned with curving paisley forms in reds, golds, and cool blues that spill down her front like a second garment. Her brown hair is close to her head, framing a composed, thoughtful face turned slightly toward us, her gaze lowered but aware as she looks back over her right shoulder. One hand rests on a bright metal door handle, holding the threshold between interior and street. At her feet, a small white lapdog, Fido, looks up attentively on the polished floor, its pink ribbon collar echoing the refinement of its mistress. Behind them, pale walls, a framed picture, and the edge of an upholstered seat suggest an elegant yet tightly bounded domestic space. Belgian artist Alfred Stevens turns this moment of departure into a quiet meditation on modern femininity under the French Second Empire. Wealth and status are signaled less by jewelry than by textiles, especially the coveted Kashmiri-style shawl that dominates the composition and speaks to the reach of global trade into Parisian interiors. The woman becomes almost a living mannequin for luxury, yet her slight hesitation and inward-looking expression suggest emotions that cannot be read from fashion alone. Painted in 1859, soon after Stevens settled permanently in Paris, the work marks his shift from earlier social-realist subjects to the intimate genre scenes of elegant women. Trained in the realist tradition and inspired by Dutch and Flemish painters, he brought enamel-smooth precision to scenes of contemporary life, using interiors and clothing to reveal social codes. Here, a bourgeois woman’s movements are carefully staged, even as she stands on the brink walking into an unseen modern city.

A young, light-skinned woman stands in a narrow Parisian doorway, paused mid-step as she prepares to go out. She wears a dark, gleaming silk day dress with a fitted bodice and sweeping skirt, its surface catching the light in soft velvety folds. Wrapped around her shoulders is a luxuriant cashmere shawl, densely patterned with curving paisley forms in reds, golds, and cool blues that spill down her front like a second garment. Her brown hair is close to her head, framing a composed, thoughtful face turned slightly toward us, her gaze lowered but aware as she looks back over her right shoulder. One hand rests on a bright metal door handle, holding the threshold between interior and street. At her feet, a small white lapdog, Fido, looks up attentively on the polished floor, its pink ribbon collar echoing the refinement of its mistress. Behind them, pale walls, a framed picture, and the edge of an upholstered seat suggest an elegant yet tightly bounded domestic space. Belgian artist Alfred Stevens turns this moment of departure into a quiet meditation on modern femininity under the French Second Empire. Wealth and status are signaled less by jewelry than by textiles, especially the coveted Kashmiri-style shawl that dominates the composition and speaks to the reach of global trade into Parisian interiors. The woman becomes almost a living mannequin for luxury, yet her slight hesitation and inward-looking expression suggest emotions that cannot be read from fashion alone. Painted in 1859, soon after Stevens settled permanently in Paris, the work marks his shift from earlier social-realist subjects to the intimate genre scenes of elegant women. Trained in the realist tradition and inspired by Dutch and Flemish painters, he brought enamel-smooth precision to scenes of contemporary life, using interiors and clothing to reveal social codes. Here, a bourgeois woman’s movements are carefully staged, even as she stands on the brink walking into an unseen modern city.

“Departing for the Promenade (Will You Go Out with Me, Fido?)” by Alfred-Émile-Léopold Stevens (Belgian) - Oil on canvas / 1859 - Philadelphia Museum of Art (Pennsylvania) #WomenInArt #DogArt #artText #art #AlfredStevens #BlueskyArt #PhiladelphiaMuseumOfArt #19thCenturyArt #BelgianArtist #FashionArt

13.11.2025 03:58 👍 51 🔁 9 💬 2 📌 0
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Happy Caturday 😻

"I believe that cats are spirits come to earth. A cat, I am convinced, could walk on a cloud."
✍️ Jules Verne (1828-1905)
French writer

🎨 Henriëtte Ronner-Knip Dutch, Belgian, (1821-1909)

"Immodest", 1897.
Royal Museum of Fine Arts Antwerp, Belgium.|

#caturday #catlovers #cats

15.11.2025 08:12 👍 17 🔁 4 💬 0 📌 0
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Happy Saturday 🌸
“When the grapes are ripe, under a clear and mild sky,
At dawn, halfway up the hillside, a strange crowd laughs:
For then, in the vineyard and no longer in the barn,
Masters and servants, joyful, all gather.”
✍️ Aloysius Bertrand (1807-1841)

🎨 Joy Pane
Chinese Artist
“The Grapes”

15.11.2025 07:56 👍 16 🔁 4 💬 0 📌 0
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Happy Friday 😀☀️🎶

I have a bluebird in my heart,
A charming creature,
So cute that its waistband
Is no thicker than a hair.

✍️ Alphonse Daudet,
(1840-1897), "The Bluebird"

📷 Nilesh Lungare

14.11.2025 07:34 👍 17 🔁 5 💬 1 📌 0
Half Moon in a pink-and-blue sky

Half Moon in a pink-and-blue sky

The moon and I
we are thinking of you

13.11.2025 16:01 👍 21 🔁 5 💬 0 📌 0

Guten Morgen Klaus 👋🙏🏻🍂 ☕️

14.11.2025 07:28 👍 1 🔁 0 💬 1 📌 0
4 Silberdisteln im Glaskrug

4 Silberdisteln im Glaskrug

Guten Morgen!
Aimé Barraud (1902–1954) 🎨 🇨🇭
Silberdisteln im Glaskrug 🖼️
#FlowerFriday #ArtHistory #Stilllife #BskyArt #NeueSachlichkeit

14.11.2025 05:25 👍 48 🔁 10 💬 6 📌 0

Foi a 11 de novembro que São Martinho foi sepultado em Tours, a sua terra natal e é por esse motivo que a data foi a escolhida para celebrar o Dia de São Martinho. Além de Portugal, também outros países festejam este dia. Em França e Itália, à semelhança de Portugal, comem-se castanhas assadas.🌰🌰🌰

11.11.2025 09:55 👍 5 🔁 3 💬 0 📌 0

Why ??? Unacceptable !!! No explanation ???
Did you get an answer ?

14.11.2025 07:26 👍 1 🔁 0 💬 1 📌 0
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🕊🍁🕊Peaceful Thursday🕊🍁🕊

"There are only two ways to live your life.
One is as though nothing is a miracle.
The other is as though everything is a miracle."
Albert Einstein

Winslow Homer ( 1836-1910 ) Driftwood 1909

13.11.2025 09:07 👍 8 🔁 5 💬 1 📌 1
Portrait einer jungen Dame in schwarzem Kleid

Portrait einer jungen Dame in schwarzem Kleid

Guten Morgen!
Fedor Encke, * 13.11.1851 in Berlin; † 9.11.1926 in Bad Sachsa, war ein deutscher Porträt- und Genremaler 🎨 🇩🇪
Portrait einer jungen Dame in schwarzem Kleid, ca. 1900 🖼️
#OTD #ArtHistory #PortraitPainting #BskyArt #History

13.11.2025 05:06 👍 34 🔁 11 💬 5 📌 0
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The Gale by Winslow Homer🖌️
Highest-quality
art reproduction

Good morning dear Brindusa, a great Master, a great quote...I prefer the second way of life 🙏

I'll review my settings, especially since I changed phones... that might be the problem🤔
Have a nice day 🫂 ☔ 💨 🍂 🍁

13.11.2025 09:38 👍 6 🔁 5 💬 1 📌 0
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Sì, che si sappia:
non c’è creatura che
non sia un popolo.

Carichiamo in noi
ogni cosa estinta,
ogni debito,
ogni incandescenza
nel limo opaco di
tutte le vite negate.

#VersiPerMe Giorgio M. Cornelio
Distorsioni

Poesia italiana Queer
dell’ultracontemporaneità

📷 benjaminwolf_ Golden Ray

13.11.2025 11:13 👍 114 🔁 40 💬 6 📌 1
Painted in Maris’s Amsterdam studio around 1906, this portrait once circulated under vague or openly racist titles that treated its sitter as an anonymous type rather than an individual. Later research in the artist’s archive including letters, photographs, and notes revealed that Maris himself repeatedly wrote her name as “Isabella,” prompting the Rijksmuseum to restore that title and center her identity. A young Black girl of about twelve or thirteen sits turned slightly toward us in a deep, cushioned armchair with gilded armrests carved as goat heads. She has warm brown skin, dark eyes, and tight curls that spill from beneath an enormous white bonnet trimmed with soft pink-red flowers and gauzy ribbons. Her blue-green satin dress shimmers with quick, loose strokes, its bodice and sleeves edged in pale lace. She holds open a pale gold folding fan with her right hand as her left fingertips rest on the fan’s tassel. A slim bracelet circles left her wrist and a small ring glints on her finger. Behind her, a tall mirror catches the back of her bonnet and dress so we see her twice at once, while the surrounding studio of dark wood, patterned upholstery, and a glimpse of rug falls into a warm brown haze that makes her face, fan, and costume seem to almost glow. These days, Isabella is read as a carefully observed portrait of a particular Black girl, dressed in theatrical 19th-century European finery that both flatters and distances her. The fan, mirror, and stage-like chair remind us that she is posing in the world of a white Dutch portraitist celebrated for images of fashionable women and children, yet the painting also insists on her dignity and presence. In museum galleries and print reproductions, "Isabella" has become a touchstone in conversations about how Black girls were seen and often unnamed in European art, and how reclaiming a sitter’s name can shift an entire story.

Painted in Maris’s Amsterdam studio around 1906, this portrait once circulated under vague or openly racist titles that treated its sitter as an anonymous type rather than an individual. Later research in the artist’s archive including letters, photographs, and notes revealed that Maris himself repeatedly wrote her name as “Isabella,” prompting the Rijksmuseum to restore that title and center her identity. A young Black girl of about twelve or thirteen sits turned slightly toward us in a deep, cushioned armchair with gilded armrests carved as goat heads. She has warm brown skin, dark eyes, and tight curls that spill from beneath an enormous white bonnet trimmed with soft pink-red flowers and gauzy ribbons. Her blue-green satin dress shimmers with quick, loose strokes, its bodice and sleeves edged in pale lace. She holds open a pale gold folding fan with her right hand as her left fingertips rest on the fan’s tassel. A slim bracelet circles left her wrist and a small ring glints on her finger. Behind her, a tall mirror catches the back of her bonnet and dress so we see her twice at once, while the surrounding studio of dark wood, patterned upholstery, and a glimpse of rug falls into a warm brown haze that makes her face, fan, and costume seem to almost glow. These days, Isabella is read as a carefully observed portrait of a particular Black girl, dressed in theatrical 19th-century European finery that both flatters and distances her. The fan, mirror, and stage-like chair remind us that she is posing in the world of a white Dutch portraitist celebrated for images of fashionable women and children, yet the painting also insists on her dignity and presence. In museum galleries and print reproductions, "Isabella" has become a touchstone in conversations about how Black girls were seen and often unnamed in European art, and how reclaiming a sitter’s name can shift an entire story.

"Isabella (Young Woman with a Fan)" by Simon Maris (Dutch) - Oil on canvas / 1906 - Rijksmuseum (Amsterdam, Netherlands) #WomenInArt #art #artText #artwork #BlueskyArt #SimonMaris #Maris #Rijksmuseum #DutchArt #portrait #DutchArtist #AmsterdamArt #ArtOfTheDay #PortraitofaGirl #arte #GenrePainting

14.11.2025 00:00 👍 49 🔁 11 💬 2 📌 0
Der Dom, der Fischmarkt und die Partie am Leinwandhaus nach der Saalgasse in Frankfurt am Main, 1860, aus: Peter Becker: Bilder aus dem alten Frankfurt. Prestel, Frankfurt am Main circa 1880.

Der Dom, der Fischmarkt und die Partie am Leinwandhaus nach der Saalgasse in Frankfurt am Main, 1860, aus: Peter Becker: Bilder aus dem alten Frankfurt. Prestel, Frankfurt am Main circa 1880.

Peter Becker, * 10.11.1828 in Frankfurt am Main; † 18.8.1904 in Soest, war ein deutscher Landschafts- und Genremaler, Radierer und Lithograph 🎨 🇩🇪
Der Dom, der Fischmarkt und die Partie am Leinwandhaus nach der Saalgasse in Frankfurt am Main, 1860 🖼️
#OTD #ArtHistory #History #BskyArt #lithograph

10.11.2025 13:11 👍 24 🔁 5 💬 1 📌 0

Guten Morgen Klaus 👋 ☕️🍂🌸

11.11.2025 08:22 👍 1 🔁 0 💬 1 📌 0
Die Dame mit dem orangefarbenen Schirm, 1893, im Profil mit markanter Nase und kurzen dunkelblonden Haaren mit einem Dutt und gekräuseltem Pony in der Tracht von 1893, sie trägt eine türkisfarbene Bluse mit großen Keulenärmeln und einem lilafarbenen Rock im Hintergrund des leicht grünen Hintergrundes ist eine Pflanze zu sehen. Das Ganze ist im Stil des neoimpressionistischen Pointillismus gemalt.

Die Dame mit dem orangefarbenen Schirm, 1893, im Profil mit markanter Nase und kurzen dunkelblonden Haaren mit einem Dutt und gekräuseltem Pony in der Tracht von 1893, sie trägt eine türkisfarbene Bluse mit großen Keulenärmeln und einem lilafarbenen Rock im Hintergrund des leicht grünen Hintergrundes ist eine Pflanze zu sehen. Das Ganze ist im Stil des neoimpressionistischen Pointillismus gemalt.

Guten Morgen!
Paul Signac, * 11.11.1863 in Paris; † 15.8.1935 ebd., war ein französischer Maler und Graphiker 🎨 🇫🇷
Die Dame mit dem orangefarbenen Schirm, 1893 🖼️
Musée d'Orsay 🏛️
#OTD #ArtHistory #BskyArt #Museum #Pointillism #History

11.11.2025 06:41 👍 32 🔁 7 💬 3 📌 0
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Happy Tuesday 🌸🌹🌷

“Each of us, like a treasure, keeps deep within our soul
The favorite fragrance of some beloved flower,
And in all our thoughts, even amidst the darkest drama,
This distant memory diffuses its freshness”
✍️ Antoine de Latour (1808-1881)

🎨 Odilon Redon (1840-1916)
“Vase of Flowers”

11.11.2025 08:20 👍 15 🔁 5 💬 1 📌 0
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Fyodor Dostoevsky 💖🌹
Born in Moscow
November 11, 1821

"One must first learn to live oneself before lecturing others!"

Memoirs Written in Underground (1864)

11.11.2025 08:16 👍 8 🔁 2 💬 0 📌 1

Thank you my dear Brindusa and you too, and a nice afternoon, I saw it’s cold…. Keep warm 🌸🕊️😘🍁🍀💐🍂

10.11.2025 19:28 👍 1 🔁 0 💬 0 📌 0

Merci Maria et très bonne semaine également 💙🍂🌸

10.11.2025 19:26 👍 0 🔁 0 💬 0 📌 0