#herchive

CW: sexual violence Many of Gentileschi's works feature strong female protagonists from the bible, myths, and allegories. One of her most famous paintings “Judith Beheading Holofernes” portrays the old testament story of the Jewish widow Judith, who together with her maidservant, decapitates the general Holofernes in order to save her city from the Assyrian invasion. The story has been painted by many artists, but Artmenisia's depiction is perhaps bloodier and more violent than most. The fact that Artemisia was raped by her father’s business partner in her youth has led to highly autobiographical readings of her work, suggesting that “Judith Beheading Holofernes” represents a form of visual revenge against her assailant. However, art historians more recently have started to move away from this very simplified reading. . . . #herchive #herchiveproject #artemisa #artemisiagentileschi #art #artistsoninstagram #femaleartists #art #baroqueart #baroqueartist #femalepainter #italyart #quotes #quoteoftheday #womenartists #womenartistsofinstagram https://www.instagram.com/p/CECDVy6JiJ2/?igshid=18a8t690dzdgg

Illustrated portrait of Artemisia Gentileschi for HERCHIVE, a visual archive celebrating women and non-binary artists throughout history.

Born in Manila - Philippines - Anita Magsaysay-Ho (1914-2012) was a pioneering artist best known for her representation of the Filipino women. She studied at the School of Fine Arts and was the only female artist to be part of the Thirteen Moderns - A group of emerging Filipino artists who broke away from the classical conventions of the art scene in the Philippines in the 50’s. Magsaysay-Ho’s painting style evolved over time. From bold brushwork and contrasting dark and light tones in the 50’s to softer and graceful lines during the 60’s that almost looked choreographed. In the 70’s she explored a new style influenced by Chinese calligraphy using inkblots, followed by a "Green Period” in the 80’s. Anita Magsaysay-Ho and her family moved several times. They lived in China, Brazil, Canada and Japan. Despite living in such different places she kept drawing Filipino women, celebrating femininity and its empowerment. Illustration @inescosta.me Photos: Anita Magsaysay-Ho. Photograph © STPI Creative Workshop & Gallery . . #Herchive #AnitaMagsaysayHo #arthistory #womenmakinghistory #philippinehistory #philippinearthistory #philippineartist #archive #color #illustration #womenofart #womenartist #femaleartist #womenpainter #modernism #artistsofig #womenofhistory #womenempoweringwomen #womensupportingwomen #equality #genderrepresentation (at Philippines) https://www.instagram.com/p/Bz-fpckI8hO/?igshid=123f352ddqn9a

3/3 CW: suicide Around 1962, Arbus started to use a twin-lens reflex Rolleiflex, a camera which allows the photographer to look through the lenses from above. Consequently, there is no barrier between the subject and the photographer, which contributed to Arbus’s connection with her subjects. She became obsessed with clarity and started to use a flash even in broad daylight, given a feeling that her subjects detach from the backgrounds. After experiencing several depressive episodes during her life, in 1971 Diane Arbus committed suicide. Her work and its unique strangeness, however, continue to influence artists, photographs, and filmmakers. She has been considered one of the most influential artists from the XX century. Illustration @larissa.dosanjos #herchive #herchiveproject #dianearbus #arbus #photographer #photography  #NYC #blackandwhitephotography #illustration #illustratorsofinstagram #womenartists #femaleartist #artistsofinstagram #fotografia #dianearbusphotography #womenphotographer #portraitphotography #americanartists (em New York City U.S.A.) https://www.instagram.com/p/CVQj3bYskSp/?utm_medium=tumblr

2/3 Arbus always sought to connect with her subjects. She didn’t objectify them; rather, she befriended and made them feel comfortable, photographing them in familiar settings. She used to take many photographs to ease the relationship between the person and the camera, and then Arbus would pick the most representative one. “Child with a toy hand grenade in Central Park, N.Y.C.”, from 1962, is an iconic example of this procedure: in the contact sheet, there were many photographs of this boy, where he presented himself in a very kind manner. But Diane picked the one who presented this child’s angst and tension. Illustration @larissa.dosanjos #herchive #herchiveproject #dianearbus #arbus #photographer #photography  #NYC #blackandwhitephotography #illustration #illustratorsofinstagram #womenartists #femaleartist #artistsofinstagram #fotografia #dianearbusphotography #womenphotographer #portraitphotography #americanartists (em New York City U.S.A.) https://www.instagram.com/p/CU91YW2MCeK/?utm_medium=tumblr

3/3 Despite the richness of her art, her production was limited by a colonial and patriarchal system that restricted the way she existed in society. Madalena was never able to support herself as an artist, having worked as a maid until the end of her life. After her death, her work was exhibited at the Venice Biennale, and today it is part of private and public collections, such as that of MASP and that of the Afro Brasil Museum in São Paulo.    Illustration by @museu_inventado Text edited by @melisagrayward #herchive #archive #MadalenadosSantosReinbolt #Reinbolt #Brazilianart #textileart #visualstorytelling #femaleartist #femalepainter https://www.instagram.com/p/COQWSEFLIHd/?igshid=1el2ft4ijvxf

2/3 At first, her bosses encouraged her, giving her paints, brushes, needles and wool. Bishop wrote that her cook had turned out to be “a wonderful primitive painter, so in a little while we’ll be selling her paintings on 57th Street and we’ll all be rich”. Bishop even said that Madalena's paintings were better than those of famous Brazilian painter Cândido Portinari. The artist used up to 154 needles in her compositions laden with ancestry and Black popular culture, resistant to colonisation processes. However, Madalena was soon dismissed when her art practice began to interfere with domestic work.   Portrait by @museu_inventado Text edited by @melisagrayward #herchive #archive #MadalenadosSantosReinbolt #Reinbolt #Brazilianart #textileart #visualstorytelling #femaleartist #femalepainter https://www.instagram.com/p/CN0Ux64Mooe/?igshid=1hjzrnyx13cr7

1/3 Madalena dos Santos Reinbolt (1919-1977) was born on a farm in the countryside of Bahia, Brazil. She had no formal education, and never attended school or learned to read. In her early twenties, she left her family to work as a domestic worker in different urban centres.   While working as a cook at the homes of landscaper Lota de Macedo Soares and poet Elisabeth Bishop in Petrópolis, she started painting and producing tapestries representing her childhood experiences and memories. In her canvases embroidered with vibrant colours, the lines work like brush strokes, creating dynamic and elaborate wefts.  Illustration by @museu_inventado Text edited by @melisagrayward #herchive #archive #MadalenadosSantosReinbolt #Reinbolt #Brazilianart #textileart #visualstorytelling #femaleartist #femalepainter (at Bahia Brasil) https://www.instagram.com/p/CNX0CKus-kY/?igshid=1pb6oghzu3sls