Helen Beatrix Potter (1866-1943) was an English writer, illustrator, natural scientist & conservationist. In her thirties, Potter self-published The Tale of Peter Rabbit, which set her on the path to becoming one of the most celebrated children's illustrators of all time. ⠀⠀⠀⠀⠀⠀⠀ This illustration, The Mice Listen to the Tailor’s Lament c.1902, is from Potter's second and favourite book, The Tailor of Gloucester. The illustrations were all drawn in Gloucester and the surrounding countryside. 🐁🐁
#ArtWords: 'Documentary photography' provides a straightforward and accurate representation of people, places or events.
Rineke Dijkstra's series 'Beach Portraits' features adolescents on beaches in Belgium, Croatia, England, Poland, Ukraine and the US. Dijkstra has commented: 'I have a preference for introverted people because I feel an affinity with them and therefore I can look at them longer than I do at exuberant people, who are very much focused on their surroundings.' ⠀⠀⠀⠀⠀⠀⠀ Rineke Dijkstra, Kolobrzeg, Poland, July 23 & July 26 1992 & De Panne, Belgium, August 7 1992.
‘I did not intend to become an abstract painter; I was working very conventionally with forms and values. But flying by plane transformed me… A city could be held in your hand: the world seen from above.' - Fahrelnissa Zeid (1901-1991) ⠀⠀⠀⠀⠀⠀⠀ Turkish-born artist Fahrelnissa Zeid is best known for her monumental abstract paintings with kaleidoscopic patterns. She produced her large-scale works by tacking canvas across the walls of her studio, and standing on pieces of studio furniture. ⠀⠀⠀⠀⠀⠀⠀ 'Often, I am aware of what I have painted only when the canvas is at last finished.'
💥 OPEN TODAY: BMW #TateLive Exhibition: Anne Imhof, 'Sex' 💥
Celebrated German artist Anne Imhof constructs atmospheric environments inhabited by groups of collaborators. For the next ten days and five nights, they will take over Tate Modern's Tanks with performances that combine music, painting and choreographed gestures. In partnership with @bmwgroupculture
Eliza Douglas in rehearsal for BMW Tate Live Exhibition: Anne Imhof, 'Sex', 📷 by Nadine Fraczkowski
Did you know that as well as being a painter and sculptor, Dorothea Tanning was also an accomplished poet? Her final collection of poetry, 'Coming to That', was published at the age of 101. Read one of her poems, 'Artspeak', alongside her surrealist works in today's story. #WorldPoetryDay 📝 Born in Galesburg, Illinois in 1910, Dorothea Tanning was actually expected to become an actress. But it was visual art that drew her, and she announced early on in life her intention to become a painter and poet. Discover more about Tanning's life, work and seven-decade career in the new Tate Etc. article: #DorotheaTanning: The Shape-Shifter by clicking the link in today's bio.
Dorothea Tanning at her home in the south of France c.1955, photographed by Michael Ochs.
'Poem of Nine Verses' comprises nine aluminium forms, placed on top of one another by Lebanese artist Saloua Raouda Choucair. Choucair describes her works as 'sculptural poems' — each form is like a verse, which can work either on its own or as part of a whole. ⠀⠀⠀⠀⠀⠀⠀ ‘The way I organise my sculptural poems is inspired by Arabic poetry. I wanted rhythm like the poetic meter, to be at once more independent and interlinked, and to have lines like meanings.’ ⠀⠀⠀⠀⠀⠀⠀ #WorldPoetryDay
Thank you to @thegreatwomenartists for taking over our feed today! ✨ This is Katy’s final #5WomenArtists pick for #WomensHistoryMonth. ⠀⠀⠀⠀⠀⠀⠀ ⚪⚫⚪⚫⚪⚫⚪⚫⚪⚫⚪⚫⚪⚫⚪⚫ ⠀⠀⠀⠀⠀⠀⠀ Born Marjorie Watson-Williams in Bristol, the once figurative painter who studied at the Slade changed her name to Paule Vézelay to mark her entry to Parisian Abstraction. It was here where she worked alongside the surrealists creating automatic, dreamlike works that explored harmonic, rhythmic and optical movements. This charcoal on canvas is typical of her time spent in Paris, and feels quite ritualistic and spiritual with its pure, spherical, and circular forms that float within its non-descript space. Soon after this work was made at the outbreak of WW2, Vézelay was forced back to the UK where her work shifted to a purer form of Abstraction. Although she was reluctant to ever join the British Art Scene, Vézelay was rightfully recognised with a retrospective at Tate Britain the year before she passed away. Thanks for joining me on my #5WomenArtists, and go check out these incredible works, on display now! ⠀⠀⠀⠀⠀⠀⠀ Paule Vézelay, Forms 1936, on free display at Tate Modern. Click the link in today’s bio to continue exploring the stories and achievements of women artists in our collection.
Today we’ve handed our feed over to curator, writer and speaker Katy Hessel of @thegreatwomenartists as she shares her #5WomenArtists for #WomensHistoryMonth. ⠀⠀⠀⠀⠀⠀⠀ ⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵⛵ ⠀⠀⠀⠀⠀⠀⠀ The first woman over 60 to ever receive the prestigious #TurnerPrize, and champion of the British Black Arts movement of the 1980s, Preston-based Lubaina Himid is known for her paintings, prints, drawings and cut-out installations that challenge the stereotypical depictions of black figures in art history and institutional invisibility. The title of this painting nods to James Tissot's 1877 etching of a soldier sitting in a boat with two white women, implying he is torn between his potential lovers, whereas Himid's suggests the struggle for identity and belonging faced by migrants travelling across the oceans and seas. A beautiful work. ⠀⠀⠀⠀⠀⠀⠀ Lubaina Himid, Between the Two my Heart is Balanced 1991 — find this work on display @tatestives ✨
Today we’ve handed our feed over to Katy Hessel of @thegreatwomenartists as she shares her #5WomenArtists for #WomensHistoryMonth. ⠀⠀⠀⠀⠀⠀⠀ 🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨🎨 ⠀⠀⠀⠀⠀⠀⠀ I am stunned at how modern Neel's large, awkward, and unapologetically confident nude portrayal of Ethel Ashton is, painted at a time of turmoil in the artist's life — Neel's husband had just left the Bronx family home along with their young daughter. Born out of Neel's frustration for the marginalised status and stereotypes of women and women artists, she captured her artist friend Ashton, with whom she was sharing a studio, in a way that no one had dared paint women before: bulky, squashed, imbued with imperfections and fleshiness. But that was Neel. From the very beginning, she painted the expressive truth of her sitters, and particularly the strong depiction of femininity. ⠀⠀⠀⠀⠀⠀⠀ Alice Neel, Ethel Ashton 1930 — see this work on free display @tateliverpool
Today we’ve handed our feed over to the wonderful Katy Hessel of @thegreatwomenartists as she shares her #5WomenArtists for #WomensHistoryMonth. ⠀⠀⠀⠀⠀⠀⠀ 🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳🌳 ⠀⠀⠀⠀⠀⠀⠀ I first saw Dora Carrington's Farm at Watendlath at the brilliant Virginia Woolf: An Exhibition Inspired by Her Writings @tatestives last year. Now it's here with us in London, I can go back and look at it as much as I like! A Slade School grad at the beginning of the 20th century, Carrington was a prominent member of the Bloomsbury Group – think Virginia Woolf and Vanessa Bell – who lived together in London. Painted whilst Carrington was on holiday with friends, this work has been suggested to emulate the curves of the female body, with the two small figures contemplating their own femininity.
Dora Carrington, Farm at Watendlath 1921 — find this painting on free display at Tate Britain.