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Florine Stettheimer (August 19, 1871 – May 11, 1944) was an American painter, feminist, theatrical designer, and poet.
Stettheimer developed a feminine, theatrical painting style depicting her friends and experiences of New York City. She painted the first feminist nude self-portrait, executed paintings depicting controversial issues of race and sexual preference, depicted the leisure activities and parties of her family and friends.
Considered a major figure of outsider-art, Corbaz originally worked in secret while hospitalized in the psychiatric facility to which she had been committed. In the late 1940s, the artist was discovered by her doctor Jacqueline Porret-Forel, and subsequently included in Jean Dubuffet’s collection of Art Brut in Lausanne.
Her passionate themes included dressed-up ladies, princes, love affairs, exotic flowers, and historical or famous figures—Abraham Lincoln, Napoleon, the Pope, Ann Boleyn among them—as well as heroines from opera.
Irish contemporary painter.
Working in oil and acrylic and at small- to mid-scale, Genieve Figgis produces paintings rich in color, texture, humor, and the macabre. Through her work, she explores and sends-up the idealization of luxury and leisure in paintings and photographs throughout art history. Like these historical works, her paintings feature sumptuous domestic interiors and stately country homes, idyllic natural settings, and protagonists dressed in finery and engaged in such activities as feasting, horseback riding, playing piano, or attending a party.
Contemporary French painter, her work revolves around landscapes, portraits and flowers.
British contemporary painter Faye Wei Wei's paintings and drawings are bold and poetic. Often revolving around spiritual iconography and classical myth, love rituals and the theatricality of gender, her works sometimes suggest the themes of particular mythic narratives, and at other moments seem to depart into a more ambiguous, interior space of incongruity and uncertainty.
Meditations on longing, image making, and fables, Eleanor Moreton’s dark figurative paintings are rooted in literature, European history, and psychoanalysis. She is particularly drawn to fairytales and the fictions we create about ourselves individually and collectively. John William Waterhouse’s retelling of the Arthurian legend “The Ladies of Shalott” inspired a series of paintings for a 2010 exhibition. “I'm curious about the stories that we construct about ourselves as a group… a fiction which we often choose to believe because it's easier.”
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