@angieart365, Black Royalty, shared the image below.

#blackwomen #92percent #blackcreatives #blackart #blackmastodon

By Jamea Richmond-Edwards (b. 1982, Detroit, MI), "Archetype of a 5 Star," 2018 (acrylic, spray paint, glitter, ink and cut paper collage on canvas, 60 × 48 inches), ©️ Jamea Richmond-Edwards. #blackart #blackartist #womanartist #womensart #collage

From Victoria L. Valentine, Culture Type, April 20, 2018: ‘AS A YOUNG GIRL, Jamea Richmond-Edwards got lost in the pages of Ebony magazine. She was particularly drawn to the runway images from the Ebony Fashion Fair show. Through the otherworldly photographs of stunning black models styled in wildly imaginative ensembles, she discovered haute couture and envisioned herself as a fashion designer. Years later, she chose visual art over fashion design, but never gave up on her desire to explore the artifice of dressing.

"Those images were very visually affirming for me. It presented black women in a space that had never seen before," Richmond-Edwards told me via email.’

The artists Instagram: https://www.instagram.com/jamearichmondedwards/

My art history theme for March will be women artists. So today: by Nigerian-Italian illustrator and textile artist Diana Ejaita, “Iya Ni Wura (Mother Is Gold),” cover for The New Yorker Magazine, May 13, 2019. #BlackArt #womanartist #womenartists #illustration #illustrationart

From the artist, on the website Afriquette: “I was contacted by The New Yorker's Art Director and was asked to send some sketches in 48 hours for Mothers Day. They were looking for a representation of motherhood with elements that qualify the traditional way of seeing mother from the Nigerian perspective. I decided I wanted to create something modern, intense, yet deeply universal.

I had recently returned from a visit to Lagos and decided to portray a mother in the city of Lagos, in the middle of the crazy traffic. I wanted to show the mother who, despite the chaos, still takes time to kneel down to her child and takes time to take care of her at the same eye level. I hoped this sense of motherhood would be universal — that any mother would be able to see herself in it. To me, the illustration is very powerful because it speaks about a sense of belonging to the family and to the land.

I was happy to be asked to do the cover and to have the chance to use this major opportunity to say thank you to Lagos, the city that is has been so generous and inspiring to me. I wanted Nigerians around the world to see something from our homeland that would warm their heart.”

The artist’s website: https://www.dianaejaita.com/

By African-American artist and educator Hilda Wilkinson Brown (1894-1981), Portrait of a Girl. I could find little specific information about this painting, nor could I find a better photo; however, it appears on the website for the short documentary film “Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell.” The film explores the relationship between Brown and her niece, also an artist. #arthistory #BlackHistoryMonth #blackart #blackartist #womanartist

From Paul Richard, “Drawing on the District: The Neglected Art Of Hilda Wilkerson Brown,” The Washington Post, November 14, 1983:

“Like the finest works she left us, Hilda Brown herself was sophisticated, genteel, charming, modest, tough. In the '20s and the '30s, she was one of the few painters capable of linking this city's black community to the world of modern art.

Her best paintings are delightful. Her subjects are familiar. She painted what she saw here--the lights of Griffith Stadium, brick Victorian row houses, the streets of Le Droit Park. Her oils please at once, and after pleasing unfold slowly. They have quiet truths to give us. Hers are images that teach.

When it suited her intentions she would borrow from the moderns. She fully understood the space-declaring brushstrokes of Ce'zanne, Lyonel Feininger's light rays, and the sweet, domestic scale of the paintings at the Phillips. But her style is her own."