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Gwen John was born in Haverfordwest, Pembrokeshire, south-west Wales in 1876. She studied at the Slade School of Fine Art, London. Today she is internationally acclaimed as one of the first modernist artists to emerge.

This oil on board painting was created in the style of dry painting with an impasto brush in Paris possibly as her affair with Rodin was drawing to a close and after the sudden death of her sister-in-law- Augustus John's wife- Ida John in 1907. During this period, encouraged by Rodin, Gwen John made a self-conscious return to painting and during which she created some of her best-known images whilst at the same time battling with depression and sporadic illness. This was during a period before she became increasingly interested in the Catholic faith. There is a sense of stillness to this work but also a sense of unease due to the garment which has been flung over a piece of furniture in the background.  John’s work is reminiscent of post-impressionist painting, due to small brush strokes and close values. John makes bold marks and is expressive in her use of colour and tone, without overcooking the lights and darks. This painting is strongly composed and balanced, owing to solid geometric shapes and forms.

https://www.europeana.eu/es/item/2063624/UK_280_013

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Marie Louise Élisabeth Vigée Lebrun (París; 16 de abril de 1755-Louveciennes; 30 de marzo de 1842)-The artist and her daughter

Élisabeth-Louise Vigée-Le Brun, daughter of a painter who initiated her in the profession, began a brilliant career as a portraitist at a very young age, crowned by being designated the official painting of Marie Antoinette in 1779. She would make more than thirty portraits of this queen , alone or surrounded by her children, also painting numerous ladies of the court. After the Revolution that had driven away his clientele, he traveled throughout Europe portraying the aristocracy, especially Russian, with his virtuous brush.

The Louvre has two self-portraits in which he appears with his daughter Julie, the result of his short marriage to the art dealer Jean-Baptiste Le Brun. As for the portraits of men (Hubert Robert, Louvre), few in his production, they are possessors of extraordinary strength.

Ana Rivera Herrero

https://www.europeana.eu/es/item/9200518/ark__12148_btv1b69044437

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Claude Monet (París, 14 de noviembre de 1840-Giverny, 5 de diciembre de 1926) - La Japonaise

Monet participated in the widespread enthusiasm for Japanese art and culture
that swept Europe in the 1860s and 1870s, a phenomenon called “japonisme”.Included in the second Impressionist Exhibition, this work was an abrupt departure that caused a sensation. One critic praised its "solid coloring" and "emphatic impasto".
In this painting Monet shows us his first wife Camille wearing a red detailed
kimono,tipical from Japan, that reminds us of the aesthetic of the oiran and the
geishas,mostly the second one. Furthermore, her kimono has Samurai printed on it. As a fact, in this canvas Camille is blond whereas in other representations she is introduced as a brunette. Apart from the fan she is holding, we can see some “uchiwa”, the typical japanese paper fans.
Her gesture is likely inspired by gestures found in traditional Japanese dances.

Ariadna Ai Díaz Anta

https://proxy.europeana.eu/199/item_S65JWXNCBZWE3BXYDXNMRE36AARHQNHG?view=http%3A%2F%2Fwww.bildindex.de%2Fbilder%2Fd%2Ffmc658220&disposition=inline&api_url=https%3A%2F%2Fapi.europeana.eu%2Fapi

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Gian Lorenzo Bernini  (Nápoles, 1598-Roma, 1680)-Cabeza de Medusa

Medusa was a beautiful priestess of the temple of Athena who was raped by the sea god Poseidon in this place. The goddess, angry, transformed the young woman's hair into snakes and made her gaze turn anyone who looked into her eyes to stone as punishment. Later she was killed by Perseus, who cut off her head while she slept with the help of Hermes and Athena, and from her neck the winged horse Pegasus and the giant Chrysaor were born.

Ana Couto Caneda

https://www.europeana.eu/es/item/199/item_TB7UWDEA2RAIN3UWN2YIP3GJHXR4Q7BH

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Erzsébet Schaár  (29 July 1905, in Budafok – 29 August 1975, in Budapest)- Voor en achter de muur

She studied with Zsigmond Kisfaludi Strobl. In 1932, she was awarded the Young Artist Award for the Szinyei Prize. In 1935, she married Tibor Vilt, a sculptor.

Her first solo exhibition was in 1932 in Budapest. In the 40s, she made small wooden reliefs, similar to the Giacometti statues, At the same time, she also patterned several reclining figures. Architectural elements were also employed; since then it has used lightweight styrene, which has created life-size spaces, such as knife-cut, easy-to-saw materials.

In 1970, she had a retrospective exhibition at the Műcsarnok, and two years later she was exhibited in Antwerp and Geneva. In 1977, the Wilhelm Lehmbruck Museum in Düsseldorf held a retrospective.

There are several public statues exhibited in Budapest, Kecskemét, Miskolc, Pécs, Tihany and elsewhere. Much of his estate is in St. Stephen's King Museum in Székesfehérvár.

Nadia Villamisar Rama

https://www.europeana.eu/es/item/2048001/Athena_Plus_ProvidedCHO_KIK_IRPA__Brussels__Belgium__AP_10132780

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Marianne Brandt (Chemnitz, Alemania, 1 de octubre de 1893 – Kirchberg, Sajonia, 18 de junio de 1983) - Aschenbecher

Marianne was born on October 1, 1893 in the German city of Chemnitz. She began her studies in painting and sculpture in 1911 at the Weimar College of Fine Arts. In 1919 she married the Norwegian painter Erik Brandt, whom she would divorce in 1935 after a long period of separation. In that first stage of her professional life, Marianne devoted herself mainly to painting until she entered the Bauhaus in 1923. The Bauhaus was a multidisciplinary school founded in 1919 by Walter Gropius which brought together architects, designers and artists from all over the world. type.

The few women who joined the Bauhaus entered the textile or ceramic workshops. But Marianne was the first woman to learn and work in the Metal Workshop, where she was taught by the Hungarian designer László Moholy-Nagy, whom she replaced as director of the metal workshop in 1928. That a woman led the workshop was not The liking of some members of the Bauhaus and the pressures would mean that he would not last long in office. During her time at the Bauhaus, Marianne designed some of the most well-known objects such as a coffee and tea set, ashtrays and lamps whose forms continue to be current thanks to their functionality and simple design.

Uxía Varela Barral

https://www.europeana.eu/es/item/199/item_LOO3IWWTEEDZT55XMEI6RVLLMDVIJCSU

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Maruja Mallo ( Viveiro, Lugo, 5 de enero de 1902-Madrid, 6 de febrero de 1995) - The wheat surprise

The painting "The wheat surprise", presented on May 1, 1936, is the first of a series of seven canvases painted by Maruja Mallo, a collection that the painter would designate as "The religion of work". The painting represents a woman holding three wheat seeds in her left hand, while three ears of wheat sprout from her right hand. This painting represents the relationship between the human element, work and the land.

Maruja Mallo was one of the most important figures of the so-called "Generation of 27", forming part of avant-garde movements in Madrid, along with Dalí, Alberti and García Lorca. Salvador Dalí defined it as “half angel, half shellfish”. With the start of the Spanish Civil War (1936-1939), Maruja Mallo was forced to flee Spain, going into exile in Argentina, an exile that would last 25 years, returning to Madrid in 1962. After her return to Spain, Mallo was awarded several medals and prizes.

Álex Miranda Placer

https://www.europeana.eu/es/item/2022709/oai_fototeca_mcu_es_fototeca_MORENO_28686_B

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Zdenka Braunerová (Praga, 9 de abril de 1858 - Ibidem, 23 de mayo de 1934)-Frontispis

She was a painter, a pioneer of graphic design and a tireless organizer of Czech artistic life. She made numerous stays in France where she met artists who inspired her. Her first inspiration was her future brother-in-law, the writer Elemir Bougres, who introduced her to great French works and introduced her to some personalities from artistic circles, for example Maurice Maeterlinck or Anatole France. In 1905, the famous sculptor Auguste Rodin accepted his invitation and visited Bohemia and Moravia. Another great success for Braunerová was her participation in the women's exhibition on the Champs-Élysées and in the Salon on the Champ de Mars in 1890.

Andrea Campelo Gómez

https://www.europeana.eu/es/item/473/https___www_esbirky_cz_detail_31341031

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Frontispis - Zdenka Braunerová 1862-1934

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KONŮPEK, JAN /Zdenka Braunerová s paletou/ Frontispis, I. stav leptu. Maria, Jaroslav: Zdenka Braunerová 1862-1934. Praha : Emporium, Alois Dyk, 1937. Knihovna Vinice.

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Cecilia Cuțescu-Storck (Câineni, 14 de marzo de 1879 – Bucarest, 29 de octubre de 1969)-Două fete

Cecilia Cuțescu-Storck (March 14, 1879, in Câineni, Vâlcea – October 29, 1969, in Bucharest) was a Romanian painter with a strong influence on the cultural life of the interwar period. She was a promoter of feminism, contributing to the creation of the "Association of female painters and sculptors" (together with Olga Greceanu and Nina Arbore) and the "Female Artistic Circle".

Cecilia Cuțescu was born in the Râul Vadului village, in the Câineni commune, Vâlcea County. She was adopted by her maternal grandparents, from whom she has the name Cuțescu. However, she remained very close to her parents, Natalia and Ion Brăneanu, and to her sisters, Fulvia, who died in her teens, and Ortansa, who became a leading feminist activist in Romania.

She graduated from the Central School for Girls in Bucharest, and then continued her studies at the Damenakademie, Munich, in 1897. In 1899 she left for Paris, taking classes at the Académie Julian. Her paintings are presented to the public through exhibitions held in France and Romania.

In June 2010, at the initiative of the rector of the Bucharest Academy of Economic Studies, Gheorghe Roșca, and the mayor of Câineni, Ion Nicolae, a commemorative plaque was placed in the village of Râul Vadului. [two]

The Frederic and Cecilia Cuțescu-Storck Museum of Art is a museum of modern art located in Bucharest, Romania, dedicated to the painter and her husband.

Alba Alonso Balado

https://www.europeana.eu/es/item/2048047/Athena_Plus_ProvidedCHO_Institutul_Na_ional_al_Patrimoniului_B5A01BE13137422380516E14B46173DF

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overall description: Compoziția face parte din ciclul de panouri decorative în pastel ale artistei. Având ca temă studiul tinerelor țigănci. Cele două personaje sunt văzute în picioare, drapate. Personajul din stânga, este văzut din profil spate, cu părul brun strâns în coc, și fața din profil. Are o draperie care îi acoperă partea de jos, verde albastru și ține în brațe un vas albastru ultramarin...

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overall description: Compoziția face parte din ciclul de panouri decorative în pastel ale artistei. Având ca temă studiul tinerelor țigănci. Cele două personaje sunt văzute în picioare, drapate. Personajul din stânga, este văzut din profil spate, cu părul brun strâns în coc, și fața din profil.

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Frida Konstantin (née Lohwag, Viena, 10 de mayo de 1884-Budapest, 29 de diciembre de 1918)-Head Study of a Girl

Frida Lohwag came from a Hungarian family. She studied painting in 1900 at Simon Hollósy's private school in Munich, then at Ferenc Szablya-Frischauf between 1905 and 1907. She made her exhibition debut in 1907. Since 1913 she has often lived in a castle near Nagyőr. She also created graphics. She married in 1918, but died of the Spanish flu months later.

María Louro Meneses

https://www.europeana.eu/es/item/07101/O_5082

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Tamara de Lempicka  (Varsovia, 16 de mayo de 1898, Polonia – Cuernavaca, México, 18 de marzo de 1980)

Tamara de Lempicka was one of the greatest representatives of art deco. In this case, it

painted herself for the cover of the German fashion magazine Die Dame, in which she it sought to give visibility to the emancipated woman, that is, to the modern woman. Lempicka self-portrait driving a luxurious green Bugatti, showing herself as a woman with power, with mobility, and independence, that does not require the help of a man.

https://pbs.twimg.com/media/D6sUTlrXYAAwHww?format=jpg&name=small

Her eyes become the center of attention, with that attitude of femme fatale and woman very typical single woman of the 20s, which claimed the rights of women and gender equality. Thus, we are shown an independent and attractive woman with elegant clothes, like a movie star, and from his scarf we can guess that he is going to high speed.

Carla Arcas Costa

https://www.europeana.eu/es/item/2024904/https___www_topfoto_co_uk_asset_8483

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Coming to England for her models ._x000D_
Mlle Tamara de Lempicka , Poland 's best known woman artist , who has taken a studio in London ._x000D_
This photograph was taken while she was passing through Milan ._x000D_
25 January 1933

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Coming to England for her models ._x000D_ Mlle Tamara de Lempicka , Poland 's best known woman artist , who has taken a studio in London ._x000D_ This photograph was taken while she was passing through Milan ._x000D_ 25 January 1933

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Camille Claudel (Fère-en-Tardenois, Aisne, Francia; 8 de diciembre de 1864 - Montdevergues, Vaucluse; 19 de octubre de 1943)
Throughout his life she perfected her work sculptural. He studied Fine Arts in Paris, and was Rodin's partner and assistant. Later they finished, and as that she was known in the world of art, in the midst of an emotional crisis, he ended up exiled in his workshop.

He began to destroy his works, and finished the last 30 years of his life locked up in a mental hospital.

https://www.musee-rodin.fr/sites/default/files/2021-01/s.1380_web_numjm002.jpg

Camile Claudel's Mature age is a set sculpture in which the passage of the time, with a young woman who begs the man to return, and with a winged death that drags him and seduces in a certain way at the end of his days.

https://proxy.europeana.eu/08604/Europa1940?view=https%3A%2F%2Farchiv.deutsches-filminstitut.de%2FC%2FCamille_Claudel%2FCamille_Claudel_01.jpg&disposition=inline&api_url=https%3A%2F%2Fapi.europeana.eu%2Fapi

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Amalia Lindegren (Estocolmo, 22 de mayo de 1814 - ibídem, 27 de diciembre de 1891)-Breakfast

Amalia Lindegren was a modest and brilliantly talented artist from her humble beginnings in Stockholm to becoming a celebrated elite portraitist. Her artistic success was seen as an inspiration to women's rights advocates and a strong argument for eventually accepting women into the Royal Swedish Academy of Fine Arts.

Lucía López García

http://www.europeana.eu/es/item/2064116/Museu_ProvidedCHO_Nationalmuseum__Sweden_17996

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Sofonisba Anguissola  (Cremona, c. 1535-Palermo, 1625)- Self portrait

Sofonisba Anguissola was born in Cremona (Italy) in 1532, she was the daughter of Amilcare Anguissola and Bianca Ponzone, both from noble families. Her self-portraits reflected how she saw herself as a woman and an artist, usually depicting virtue and modesty. In this self-portrait we see how her dual representation as painter and model is shown thanks to the book she holds in her hands and which says: «Sofonisba Anguissola Virgo Seipsam Fecit» which means «Sofonisba Anguissola created by the maiden herself».

Nicole da Cruz Melo

https://www.europeana.eu/es/item/15502/GG_285

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Beschriftung: Signatur: Bez. und dat. im Buch: Sophonisba Angussola Virgo seipsam fecit 1554

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Berthe Marie Pauline Morisot (Bourges, 14 de enero de 1841-París, 2 de marzo de 1895)-In the Bois de Boulogne

Berthe Morisot was the most outstanding Impressionist painter of her time and was even the one who managed to get Edouard Manet into the group of these artists who at that time were considered critically renegades.
The painting depicts two women. Morisot employed a rather unusual palette in this painting.The technique used by the artist is typically impressionist, based on thick and free brushstrokes, which only outline the forms, without completely defining them. Morisot was able to execute with his basic and resounding brushstrokes the quality of nature's colours in a unique and special moment. The harmony between blues and greens is really extraordinary and demonstrates the mastery of this painter when it comes to colour combinations.

Sara Cortizo de Dios

http://www.europeana.eu/es/item/2064116/Museu_ProvidedCHO_Nationalmuseum__Sweden_22575

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Berthe Morisot took part in the first Impressionist exhibition in 1874, and since then belonged to the core of the group. Contemporary reviewers described her paintings as the very essence of Impressionism. Many critics regarded the group's style to be exceedingly feminine - the sketchy character, the focus on colour rather than outline, the emphasis on transience and the fleeting moment - and the...

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Berthe Morisot took part in the first Impressionist exhibition in 1874, and since then belonged to the core of the group. Contemporary reviewers described her paintings as the very essence of Impressionism.

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Maerten van Heemskerck  (Heemskerk, 1498-Haarlem, 1 de octubre de 1574)- Portrait of a young woman spinning

Maerten van Heemskerck was a painter, printmaker, and draughtsman, active during the century XVI. He traveled to Italy where he was able to study the frescoes of Raphael and Michelangelo, whose influence is reflected in the works he made later. He also made drawings of sculptures, classical ruins and views of cities and his work reached a great diffusion.

This portrait of a young woman spinning is one of the best works of his early period, although it is not the only one in his production that addresses this issue. In some cases the woman she is shown accompanied by a young man or a child who offers her wine or an apple to tempt her, to which she remains impassive, thus embodying the virtuous woman. In this table, the lady appears in the foreground occupying the entire surface of the painting. She calls the attention the elaborate spinning wheel with which she works and her clothing, with few and sober colors that stand out in contrast to the austerity of the room in which she installs the figure. The only elements that decorate the room are a work basket, a skein winder and a shield hanging on the wall.

Attempts have been made to identify the portrayed with the wife of a member of the Council of Haarlem, the city where the painter lived, as well as with a member of the families important in the city, although without success.

Marta Mosteiro Castro.

https://www.europeana.eu/es/item/2058501/MTB_AW_1969_14

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Durante el siglo XVI la pintura en los Países Bajos experimentó una transformación en el curso de la cual se fueron abandonando los esquemas piadosos e intimistas de los primitivos flamencos, cuya estética había llenado brillantemente el siglo XV. Al igual que otros centros artísticos, Flandes importó, en esta centuria, patrones renacentistas italianos, y la pintura fue incorporando gradualmente m...

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Durante el siglo XVI la pintura en los Países Bajos experimentó una transformación en el curso de la cual se fueron abandonando los esquemas piadosos e intimistas de los primitivos flamencos, cuya estética había llenado brillantemente el siglo XV.