Wonderful photo, great photographer.
Thanks and good afternoon dear Maria 🙏👏👏👏🕊💐🕊🙋‍♀️

27 de março de 1943: "O cabo da RAF e astro do futebol Stanley Matthews leva sua filha e o cachorro para um passeio de bicicleta em um campo de futebol deserto."
O Melhor Jogador de Futebol que a Guerra Produziu -1943 (Foto de Leonard McCombe📷

Good afternoon dear Brindusa, a great photographer 🙋🕊️🤍

🕊💐🕊Peaceful Tuesday🕊💐🕊

"You have not failed until you quit trying."
Gordon B. Hinckley

Leonard McCombe ( 1923-2015 ) 📷
Dancers in Central Park, 1961
#PhotographyIsArt

The title of this painting was changed from "Triumph of Women" to "Exploits of Women" to sharpen its meaning. “Exploits” shifts the work away from generalized celebration and toward hard-earned action, sacrifice, and labor. Ukrainian artist Mykhailo Antonchyk presents women as historical agents: the young, the mature, and the old joined in a collective passage through crisis. Three women stand side-by-side before a fiery orange-gold background, their bodies elongated and simplified into solemn, iconic forms. At the center is the tallest figure, a woman in a dark coat and headscarf, facing forward with a calm, grave expression and miliary-style medals pinned to her chest, plus a large white cloth sack across her body. To the left stands a younger girl in a reddish head covering and dark dress with her wide eyes, a slight build, and pale bare legs making her appear youthful and alert. To the right is an older woman in layered brown, olive, and cream garments, her lined face long and angular, while her posture is steady but visibly worn. Each figure carries a white sack with one hand held out to their right, as though ready to offer or distribute what it contains. Above them, angular forms suggest aircraft crossing the sky, while a bright orange sun creates a halo effect. The women seem joined not only by solidarity across generations, but by shared work. Their sacks could be bags of seed, food, or provisions, turning them into agents of sustenance rather than symbols of burden alone. The medals on the central figure suggests public recognition, yet Antonchyk’s deeper tribute may be to the uncelebrated work women perform in times of upheaval: feeding people, carrying essentials, rebuilding daily life, and protecting the future. Despite the pressure of war, the women remain grounded, steady, and purposeful. "Exploits of Women" honors the quiet heroism of preserving community and transforms "ordinary" women into a monumental, almost sacred image of collective strength.

"Exploits of Women" by Михайло Антончик / Mykhailo Antonchyk (Ukrainian) - Oil on canvas / 1965 - The Museum of Russian Art (Minneapolis, Minnesota) #WomenInArt #art #artText #MykhailoAntonchyk #МихайлоАнтончик #Antonchyk #MuseumOfRussianArt #TMORA #UkrainianArt #WomenInPainting #UkrainianArtist

Blue sky, clouds, sun peeking through.

Oh wow the sky right now.

A group of women stride toward us along a glowing yellow street that tilts upward like a stage. Their bodies are elongated and angular, with sharp shoulders, tapering coats, and small black shoes that cut into the pavement like points. The central woman wears a deep green cloak and a wide black hat trimmed with pale yellow, her face long and pale, her eyes narrowed and unreadable. To the right, a figure in a lavender-gray coat leans forward with a cool, detached expression. To her left, a woman in saturated blue emerges from shadow, while two darker figures recede behind them in black and blue. Their faces are masklike rather than individualized, built from slashing planes of cream, peach, black, and tan. The street and buildings dissolve into jagged bands of acid yellow, green, and black, so the city feels unstable and rushing rather than fixed. The women appear elegant and highly visible, yet emotionally distant from one another and from us. Fashion, movement, and public display dominate the scene, but so do tension and unease. This painting belongs to German artist Ernst Ludwig Kirchner’s celebrated Berlin street scenes, made after his move from Dresden to Berlin, where modern city life became one of his most urgent subjects. In these pictures, fashionable women in extravagant hats often stand for more than individual sitters: they become emblems of metropolitan spectacle, commerce, desire, and alienation. Here the women’s beauty is deliberately hard-edged. Their bodies are elegant but tense, their faces alluring yet sealed off, their closeness theatrical rather than intimate. Kirchner’s acidic color, compressed space, and blade-like contours transform the street into a psychological zone where attention itself feels dangerous. Rather than offering a comfortable scene of women in public, Kirchner shows a city built from performance, vigilance, and restless energy.

"Frauen auf der Straße" (Women on the Street) by Ernst Ludwig Kirchner (German) - Oil on canvas / c. 1915 - Von der Heydt Museum (Wuppertal, Germany) #WomenInArt #ErnstLudwigKirchner #Kirchner #VonDerHeydtMuseum #GermanExpressionism #1910sArt #art #artText #arte #BlueskyArt #GermanArt #GermanArtist

Einzelnes sich selbst ausgesähtes blau-gelbes Hornveilchen in einer Pflasterritze vor einer Mülleimerecke!

Überlebenskünstler 📷
#photography

Enjoy your breakfast, Stephen
P.S. Here is lunch-time 👋🏼

Bom dia e boa semana para todos 👏☕🌧️🌾

Póvoa de Varzim 📷

Póvoa de Varzim 📷

Póvoa de Varzim 📷

Bruno Cerboni🖌️

#women

Lady with red hair and green eyes" #costume #costumedesign #costumedesigner #aiportraits #AI #aiartcommunity #midjourney #nftcommunity #nftart #NFT #newcollection #artist #prada #gucci #Vogue #glamour #hermes #adidas #Chanel #luisvuitton #yvessaintlaurent

Bruno Ceborni 🖌️

Bruno Cerboni 🖌️– In de stilte

Bruno Cerboni, 1948 | Tutt'Art@ | Pittura

Bruno Cerboni é um artista italiano que utiliza técnicas do terceiro milênio e Inteligência Artificial para criar suas obras. Cerboni nasceu em Castel del Piano ( GR ), Itália.

Il mondo di Mary Antony: Bruno Cerboni🖌️

"Utilizo processos exclusivos de Inteligência Artificial para criar minhas obras de arte. Transformo meus trabalhos originais em alta definição em pinturas de belas artes para exibi-las em diversas galerias ao redor do mundo."

Bruno Cerboni 🖌️

Thanks Maria dear 🙏👏😘🙋‍♀️

Beryl Cook, pintora británica nacida en 1926 y fallecida en 2008, es famosa por sus representaciones vibrantes y divertidas de figuras con curvas🖌️

A Bird in the Hand

Enjoy your day and new week my friend🙏💐🌧️☕🍁

🕊💐🕊Peaceful new week🕊💐🕊

"The chief obstacle to the progress of the human race is the human race."
Don Marquis

Beryl Cook OBE, British 1926-2008, Ladies Who Lunch, 2004

Three women occupy a spare interior that feels part backstage room, part stage set. At left, one dancer sits on a low support, her body relaxed but attentive, her head turned toward the others. She has deep brown skin, dark hair pulled back with a rose-pink scarf, and wears a bright pink dress over soft white ruffles that spill across her lap. At center, a second dancer stands in a luminous powder-blue gown, its gathered skirt swelling outward in tiers marked by pink rosettes plus bare shoulders and airy sleeves. Her posture is upright and poised. At right, a third dancer leans inward, her dark hair tied with a pink ribbon and her pale grey dress belted in blue. Behind them, a weathered wall shifts from cream and gold to a broad field of rusty red, while a turquoise table anchors the middle. Scottish artist William Russell Flint softens edges and lets brushwork breathe, so fabric, skin, and light feel alive. The women are dressed for a performance , but the scene itself is quiet, almost conversational. Instead of catching them in overt motion, Flint pauses them between movements, allowing attention to rest on mood, relationship, and individuality. Victoria, Ora, and Serafina are named as people, not merely as decorative “types,” even though some later reproductions circulated with outdated and racist wording that flattened their identities. Painted in 1948, the work belongs to a late, highly accomplished phase of Flint’s career, just after he was knighted in 1947. He was celebrated for graceful draftsmanship, theatrical interiors, and his ability to turn cloth, gesture, and light into atmosphere. Yet this painting has more gravity than charm alone. The seated woman’s inward focus, the central woman’s calm command, and the right woman’s attentive lean create a triangle that feels like a natural conversation all while the painting also invites questions about spectatorship, race, performance, and who gets to be seen as fully present within art history.

“Dancers, Victoria, Ora and Serafina” by William Russell Flint (Scottish) - Oil on canvas / 1948 - Dundee Art Galleries and Museums (Scotland) #WomenInArt #art #artText #WilliamRussellFlint #SirWilliamRussellFlint #DundeeArtMuseum #dancers #ScottishArtist #BlackWomenInArt #BritishArtist #DanceArt

Three elongated young women stand close together in a shallow, misted field of lavender, rose, silver, and blue. The central woman faces forward, nearly frontal and still, with a softly glowing oval face, dark small lips, and long cloudlike hair that widens around her head like a halo. Her pale gown falls in a narrow column, marked by stylized floral motifs and strings of blue teardrop shapes. On the left, a woman in profile bends inward in a sweeping mantle of cobalt and lilac, patterned like with repeated fans or petals. On the right, another profile woman leans toward the center in a rose-pink robe alive with looping white and crimson patterns. Across the surface float clustered roses, lotus blossoms, dotted veils, and shimmering droplets. A white lily rises near the center, delicate and upright, as if carrying the fragrance named in the title. Scottish artist Margaret Macdonald Mackintosh makes scent visible here. Rather than painting perfume bottles or an interior scene of adornment, she turns fragrance into atmosphere, rhythm, and symbol. The three women seem less like individuals than personifications, joined in a quiet ceremony of beauty, intimacy, and imagination. The white lily suggests purity and spiritual offering, while the blue and pink droplets feel like falling notes, tears, or suspended perfume in the air. The work belongs to the mature phase of Macdonald’s career, when her ethereal figures, flattened space, and ornamental line had become central to the Glasgow Style. By 1912, she was already internationally known through exhibitions and through the collaborative artistic world she shaped with Charles Rennie Mackintosh, yet her own vision remained distinct: mystical, feminine, and psychologically inward. This painting’s power lies in its hush. It asks us not simply to look, but to slowly, almost bodily sense how beauty, like perfumes, can be fleeting, invisible, and deeply shared.

The Three Perfumes by Margaret Macdonald Mackintosh (Scottish) - Watercolor & pencil on vellum / 1912 - Cranbrook Art Museum (Bloomfield Hills, Michigan) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MargaretMacdonaldMackintosh #MargaretMacdonald #CranbrookArtMuseum #artText #art #GlasgowStyle

Amusement park, the loops of a ride in red and yellow, reflected in a puddle of water in the forground. Blue sky.

VIENNESE IMPRESSIONS
Wurstelprater Amusement Park
Said to be the world's oldest
Leopoldstadt, 2nd District
Image © Merisi Vienna
#EastCoastKin #Photography
#PhotographersOfBlueSky
#BlueSkyMonday

Thanks and a domani Maria dear 🙏👏👏👏🕊💐🕊😘🙋‍♀️

Mimosas, Pintura por Alain Benedetto🖌️
| ArtMajeur

Good evening dear friend, a peaceful night, a domani💫✨💐🙏

Happy Saturday to you 👋

Indeed it is.

#InternationalWomensDay2026

"Women belong in all places where decisions are being made."
Ruth Bader Ginsburg

Vase of Mimosas and Thistledown (Tansy and Hemp Agrimony)
Ernest Townsend (1880–1944)
Derby Museum and Art Gallery

#8marzo

Woman power
is
Human power
is always feeling
my heart beats
as my eyes open
as my hands move
as my mouth speaks
I am
are you

Ready.

#VersiPerMe Audre Lorde

©️Lok Hong