Prometheus, roepend vanuit een rotslandschap = Prometheus, Calling from a Rocky Landscape
Johannes Josephus Aarts (Dutch; 1881–1934)
ca. 1910s­–20s
Charcoal on paper
Rijksmuseum, Amsterdam

Minerva (2011). Erwin Olaf (Dutch, b.1959). Chromogenic print, from the series: The Siege and Relief of Leiden (2011), commissioned by Museum De Lakenhal and Leiden University. 

For this image, Olaf took the seal and logo of Leiden University as a starting point. However, he made the goddess more lively, by having the young model challenging viewers by looking straight in their eyes.


This season, Ernestine ends up on a rice plantation on the South Carolina coast, a region known for its Gullah/Geechee culture. Due to isolation, slaves here maintained a society that was an amalgam of several West African cultures, which survives today on the South Carolina coast and Georgia Sea Islands. Wagner combed through archives and published collections of historical photos to learn more about the dress of the Gullah people, but found next to nothing. She decided to work backwards, drawing inspiration from current West African fashion. She chose to express Gullah culture with a colorful palette of saturated pinks, yellows, blues and purples and the occasional use of Dutch wax prints.


Get The Look:

We haven’t had a get the look for a while! Today we’ll take the look from the colourful and mixed-prints masters, the Dutch, with this watercolour from an Italian album in the Bunka Fashion College collection in Japan.

Because, who doesn’t love some mix-and-match? (images from top):

  1. “North Holland”, ca. 1775, from "An album containing 90 fine water color paintings of costumes.“, Bunka Fashion College.
  2. Printed cotton jacket, 1775-1780, Textile Museum of Canada.
  3. White linen cap, 18th century, Museum of Fine Arts, Boston.
  4. Blue damask petticoat, Zaans Museum.
  5. Plaid blue and white linen apron, ca. 1776, Colonial Williamsburg.
  6. Debbie shoes, 18th century reproduction, Fugawee.com
  7. Black frame knitted mitts, Museum of Fine Arts, Boston.
Alfred Sisley: Impressionist Master
Born in Paris to British parents, Alfred Sisley (1839–1899) abandoned his business studies early on in order to pursue training as a landscape artist and has become admired for his characteristic subtlety and highly restrained approach to painting. This beautiful publication offers an overdue reevaluation of Sisley, one of Impressionism’s most distinctive yet undervalued figures. An artist of unparalleled sensitivity, Sisley maintained a strong commitment to creating his works outdoors, skillfully recording the nuances within the landscapes of northern France and rendering the effects of the changing light and weather patterns along specific areas of the river Seine in a truly remarkable fashion. Exploring the artist’s relationship to his fellow Impressionists as well as to his influences, including J.M.W. Turner, 17th-century Dutch art, and Japanese prints, and showcasing rarely seen privately owned works, this volume celebrates Sisley’s unique virtuosity as an observer of the natural world.  

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Blessed Wednesday Loves, so excited to share with you this month’s theme for The Free Black Women’s Library is some what fashion focused as we are exploring the connections between culture, clothing and consumerism!!

Join me Sunday on May 21st from noon to 5 with special guest, cultural scholar, media maven, stylist and world renowned fashion designer Busayo  discussing the many connections between culture, fashion and consumerism.

** “Cultural Ownership: the Complexity of African Textiles”**   

happening at 

Bed Vyne Brew, 370 Tompkins Avenue, Brooklyn, NY 11221 from noon to 5pm

This conversation will share a short history of the diverse array of African textiles and the relationship between textiles and different African cultures and traditions. In addition there will be some discussion of the complex and problematic history  of Ankara (i.e. Dutch Wax Print), what are its implications for those of us that love the fabric and culture ownership. The history of these fabrics also implicate debates around cultural appropriation. If Europeans invented it and are the primary producers, what makes it African print?  Also, what are the ways in which the current production of these textiles fail to benefit  Africans. This will be a fun, and dynamic discussion of African fabrics and implication for women who love fashion!

Also the library now has over 650 books by Black women available for trade, please come through to trade books and/or take part in the conversation!!
All are welcome!!
Wishing you all an amazing week!!


March 7th 2016 Spent a rainy morning reading about early modern Dutch prints with an almond milk latte to keep me awake. I plan on looking into the book, Comic Print and Theatre in Early Modern Amsterdam: Gender, Childhood, and the City, when I have more time, but based off of this chapter I would highly recommend it to those interested in the relationship between print culture, gender, and civic identity.