fediartchallenge

Harry Gottlieb (1895-1992, American) Old Woman (10/10), 1932 Lithograph

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A monochrome artwork depicts a figure with a bowed head and a hand partially covering the face, with a small, light-colored cross visible near the bottom. The bottom of the artwork features the handwritten text "Harry Gottlieb 32".

Harry Gottlieb (1895-1992, American)Old Woman (10/10), 1932Lithograph

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Kurt Günther (1893-1955, German) Radio Enthusiast, 1927 Tempera in wood

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Kurt Günther (1893-1955, German)Radio Enthusiast, 1927Tempera in wood.

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Max Lingner / German, 1888-1959 / Mademoiselle Yvonne, 1939 / Oil on canvas

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Max Lingner / German, 1888-1959 / Mademoiselle Yvonne, 1939 / Oil on canvas

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Cercle du Lucas Cranach (1472-1553) "The Ill Matched Couple" (1550) Oil on canvas

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A Renaissance oil painting shows two figures in close proximity. A young woman with pale, rosy skin wears an elaborate rust-red brocade dress with puffed sleeves, a netted hair covering, and a jeweled choker. She gazes downward with a faint, ambiguous smile, her hands clasped at her chest. Behind her looms an elderly man with a white beard and dark fur hat, leering toward her with a grasping hand. A landscape with mountains is visible through a window behind them. The contrast between youth and age, beauty and desire, creates an unsettling tension. Attributed to the circle of Lucas Cranach the Elder.

Cercle du Lucas Cranach (1472-1553)"The Ill Matched Couple" (1550)Oil on canvas.

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LA II Ortiz (1967- ) Title: Silver Sumi on Black Ground Date: c 1985 Medium: acrylic with marker on board Signature: signature throughout Size: 23x31

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A rectangular black and white frame filled completely with frenetic white shapes and dooddles on a black background. The piece exudes energy.

LA II Ortiz (1967- )Title: Silver Sumi on Black GroundDate: c 1985Medium: acrylic with marker on boardSignature: signature throughoutSize: 23x31

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Cameron Booth (American

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A boldly gestural black-and-white abstract lithograph, edition 3 of only 10. Large sweeping calligraphic strokes dominate the composition — thick, looping black forms with an almost biomorphic quality, suggesting eyes, wings, or organic bodies without resolving into specific figures. Against these, atmospheric grainy tonal passages (characteristic of lithographic crayon or tusche wash) create spatial depth and faint suggestions of landscape — trees, cliffs, rooftops. A sharp triangular spike rises from center-bottom; a rounded ovoid on a stem anchors the right; a cluster of dots adds rhythmic texture at left. The work sits confidently at the intersection of Abstract Expressionism and Miró-esque biomorphism — stylistically very much of its moment.

Cameron Booth (American. 1892-1980). Untitled Abstract (3/10), 1952.Lithograph (Blackburn N.Y..C.)

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Aurora Altisent (1928-2022, Catalan)

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A large vertical canvas depicting roughly ten nude female figures gathered on a flat, rust-brown earth. Rendered in simplified, flattened forms with warm ochre and yellow skin tones, the figures stand, turn, and converse in loose groupings — some face away, some embrace, some look outward. At center, two figures stand slightly elevated, as if on a low step, facing the viewer. The sky filling the upper half is pale blue-grey, animated by scattered white circular orbs — ambiguous as stars, snowflakes, or luminous bubbles. The mood is contemplative and mythic. Signed lower right: Aurora Altisent 60.

Aurora Altisent (1928-2022, Catalan). Recerca.Oil on canvas.

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Wanda Gág (1893-1946

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Highly stylized drawing of outside of a home with swirling trees and fence, all in monochromatic hues.

Wanda Gág (1893-1946. USA, Minn.), Spring (Spring in the Garden), 1927, lithograph on paper, image: 9 7⁄8 x 13 in. (25.2 x 33.0 cm), Smithsonian American Art Museum, Bequest of Olin Dows, 1983.90.41

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[Microblog] John B

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Simple demure entangled female figures are gracefuly entwined into a black and white forest scene.

John B. Flannagan (Fargo ND. 1895-1942)Four Female Nudes in a ForestDate: c. 1924. Medium: Linocut

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Seated Female Nude Helen Ratkai (American, NYC) Oil on canvas, c

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A seated nude woman with reddish-brown hair rests her right hand against her head in a contemplative pose, her body turned slightly toward the viewer. A dark drape falls across her lap. Beside her, a pedestal bowl holds colorful fruit — grapes, oranges, and apples. A window with warm yellow light fills the background. The palette is muted olive green and ochre. Signed lower right: Helen Ratkee. Oil on canvas, intimate in scale and mood.

Seated Female NudeHelen Ratkai (American, NYC)Oil on canvas, c.194010 3/4 in. x 13 3/4 in 10/20

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[Microblog] The Embrace

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Two figures press together at the center of the canvas, their forms blending into one mass. The woman in warm fire orange — her green skirt and dark hair vivid against the man, who recedes into dark blues and brown pants. Their faces stare into each other. The background is an outdoor river scene with homes on the horizon.

The Embrace. Pablo Picasso. 1900.

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Infanta Margarita María

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A framed picture in light wooden frame hangs on museum wall. Picasso's Infanta Margarita María is part of his 1957 series of 58 variations on Velázquez's Las Meninas. Rendered in Cubist fragmentation, the young Spanish princess is reduced to bold geometric planes — angular white and grey forms suggesting her iconic wide skirt and pale face. Picasso strips away courtly realism, rebuilding her in flat, interlocking shapes that feel simultaneously playful and monumental. She is recognizable yet reinvented — a dialogue across four centuries of painting.

Infanta Margarita María. Pablo Picasso. 1957

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[Microblog] Pablo Picasso

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A small, stout woman stands center-frame, her body wide and low to the ground. She wears a vivid orange-red ruffled skirt that fans outward like a flame, and a pale blouse. Her face is broad and direct, meeting your gaze without apology. The background is dark and spare. Despite her marginalized status, Picasso paints her with full presence — solid, colorful, and unashamed.

Pablo Picasso. La Nana, 1901. Oil on cardboard.

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[Microblog] Pablo Picasso

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A bedridden woman lies pale and exhausted, her infant beside her. A doctor in black takes her pulse, representing science. On the other side, a nun in white habit offers soup and cradles the baby, representing charity. The mood is somber, realistic, painted in cool, muted tones.

Pablo Picasso. Science And Charity. Oil on canvas. 1897.

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[Microblog] The Blue Glass

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A tall, narrow canvas — roughly twice as tall as wide — painted around 1903 during Picasso's Blue Period. At the center stands a single transparent drinking glass holding one red flower. The petals are the only warm note; everything else — the glass, the background, the surrounding space — is suffused in deep, cool blue. The composition is spare and still, almost meditative. Blue doesn't just surround the flower; it seems to absorb it.

The Blue Glass. Pablo Picasso. 1903 Choose 20 paintings that have stayed with you or influenced you — one painting per day for 20 days, in no particular order. No explanations, no reviews, just paintings.

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[Microblog] Las Meninas

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Picasso's Las Meninas (1957) is a bold, cubist reimagining of Velázquez's famous painting. Figures are shattered into sharp geometric fragments — angular black outlines filled with stark blacks, whites, and grays. The Infanta Margarita looms large at center, blocky and monumental. Attendants crowd around her as fractured, almost puppet-like forms. A tall, skeletal Velázquez dominates the left. The room feels tilted, electric, and slightly menacing — order deliberately broken apart.

Las Meninas. Pablo Picasso. 1957

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