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

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

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

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.

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

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

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

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

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

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

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