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Women as art subjects history
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Women excluded from society in art
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I found that Nochlin and Pollock had very similar ideas about feminism and why we do not see very many “great” women artists. The primary focus of both readings is the systematic oppression of women by societal structures that were/are implemented at different points in time. I really enjoyed Nochlin’s discussion of women artists and why we do not see very many “great” women artists within the canon of art history. I appreciated both the readings discussion as well as our in-class conversation surrounding why this is. It is not that there are these amazing female artists who have just not been discovered by scholars, like many of us want to believe (as Nochlin points out), but that women were unable to become great artists because of the institutions that were in place. The Victorian city was a place for men to thrive and enjoy and women simply survive. As discussed in class, it is important to view art history with a feminist lens, because it open up many new topics which were previously overlooked. Topics such as authorship and production (as discussed in our readings), social context, issues of the gaze and looking, and issues of “art genus” are all ones which can be explored by feminist art historians. This is something that I find particularly interesting, because although there were not any “great” female artists, …show more content…
They were successful impressionist painters, even though they were subjected to different expectations and restricted by different institutions and societal structures. Although the two female artists could not experience the world in the same way that their male colleagues could, they were able to work with the interior spaces they were confined to. Mary Cassatt and Berthe Morisot found a way to work around the issues of space and location that were preventing them from creating work in the same format as the male
An influential American printmaker and painter as she was known for impressionist style in the 1880s, which reflected her ideas of the modern women and created artwork that displayed the maternal embrace between women and children; Mary Cassatt was truly the renowned artist in the 19th century. Cassatt exhibited her work regularly in Pennsylvania where she was born and raised in 1844. However, she spent most of her life in France where she was discovered by her mentor Edgar Degas who was the very person that gave her the opportunity that soon made one of the only American female Impressionist in Paris. An exhibition of Japanese woodblock Cassatt attends in Paris inspired her as she took upon creating a piece called, “Maternal Caress” (1890-91), a print of mother captured in a tender moment where she caress her child in an experimental dry-point etching by the same artist who never bared a child her entire life. Cassatt began to specialize in the portrayal of children with mother and was considered to be one of the greatest interpreters in the late 1800s.
The male artists portrayed women as a projection of their ideal woman. The artist’s often overlooked the women’s identity’s and personalities in favour of creating aesthetically pleasing art for themselves and other superior males to view and enjoy. This was especially harmful because the more popular the art grew to be, the more often women were categorised as objects rather than people. The art contributed to gender construction by creating these gender roles and reinforcing that in all situations, men were superior to
... masculine compared to soft paintings of Vigee Le Brun. Adelaide’s works were so good and beautiful and many thought that her lover did her works that is due to discrimination of women and belief that women cannot be as good of an artists as men. She brought attention to this issue and it worked to be a positive advertisement for her.
Frida Kahlo and Barbara Kruger’s issues faced throughout their lifetime can be connected to our course. Frida Kahlo’s artwork could be discussed in the Guerrilla Girls book that we have read early in the semester. The Guerrilla Girls portrayed different artists, and their battles faced as women. Frida Kahlo’s art was overshadowed by her artistic husband, Diego Rivera, similarly to many other women artists in the Guerilla Girls. Most women were not credited for their artwork, and were not portrayed in guilds unless they were married or came from a wealthy family. Barbara Kruger’s photography portrayed many feminist prints. Throughout this course, we have discussed the meaning of being a feminist and the issues feminist face
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
Mary Cassatt is one of the most famous female figures in the art world and aided in the popularization of Impressionism. Her work was simple yet impactful, and left its viewers wanting more. The main focus in most of her works was of mother and child or of women doing simple daily tasks. Her broken brush strokes and bright color palettes made her pieces pleasant and full of life. Though her work was not at first accepted, she kept painting and worked hard to make a name for herself and to change the art world into something more diverse and accepting.
Mary Cassatt, an American printmaker, and painter was born in 1844 in Pennsylvania. Cassatt’s family perceived traveling as an essential part of the learning process thus she had the advantage of visiting various capitals such as Paris, London, and Berlin. Cassatt studied to become a professional artist and attended the Pennsylvania Academy of Fine Arts. She later went to study in France under Thomas, Couture, Jean-Leon Gerome, and others. She spent a significant part of her adult life in France. When in France, she initially befriended Edgar Degas, a famous French artist, and later her works were exhibited among other impressionists. Afterward, Cassatt admired artists that had the ability to independently unveil their artwork and did not
Throughout history art has played a major role in society. It started out with paintings and went to photography and eventually to films. Artistic interpretation depended on whom the artist was and what he or she wanted to present to the audience. When it came to portraiture, whether it was paintings or photography, the idea of mimesis was very important. However important this may have been, the portraits were mostly products of the media and fashions during that time period. Whatever was popular during the time was used such as columns or curtains in the background. The face was the main focus in the painting and there was little focus on the body. Later on during photography the body was focused on more. Even though photography was used much later after paintings were used, it allowed the artist even more artistic interpretation because of the ability to play a different role and not having to be ones self. The artists that will be focused on are Frida Kahlo and Cindy Sherman. They lived during different periods and their artistic intentions varied because of that. They also had similarities in that they thought outside of the conventional roles. These women were both self-portraiture artists and although they were considered that their interpretations did not always make their portraits self-portraits. Traditionally the artist was an outsider, but when it came to self-portraiture they became the subject and the audience became the outsider. The similarities and differences of Frida Kahlo and Cindy Sherman’s art were tied into the strength and also vulnerability they had because of their roles as women. They wanted the audience to see a background story to the portraits and not just an image of a beautiful face.
Mary Cassatt was most widely known for her impressionist pieces that depicted mother (or nanny) and child. She was faced with many struggles throughout her life and received much criticism, even after her death in 1926. She found it difficult to receive appropriate recognition for her pieces during her early career. Many were unaccepted by the Salon. Cassatt lived for many years in France after her successful career, which ended abruptly when she went blind. Her talent placed her pieces in many famous museums throughout the world and landed her name among the famous artists of her time. As well as paving the way for powerful women, like herself. She lived during a time of suffragettes searching for equality.
At the time, women were not allowed to actually study in the French academy so private instruction was the only option. Gérôme was one of the most requested instructors at the institution, so it was no small feat that Cassatt managed to impress him with her early work. It was under Gérôme’s guidance that she would enhance her formal skills by going to the Louvre daily to copy the artwork on display. Students, like Cassatt, could pay their way through private lessons or schooling by selling the copies of artwork they made at the Louvre to American tourists. At about the same time as Cassatt’s permanent move to Paris, Paris was in the midst of social and artistic change from the previous status quo. Along with the changing aesthetics came the emergence of a new radical group of artists who attempted to break away from previous academic tradition. This group would soon be known as the Impressionists. Cassatt herself would not become apart of this group for the next decade however, and continued to work in a more traditional manner so she could submit her artwork to the Paris Salon. As the Paris Salon did not select as many of her pieces as she had hoped, she grew frustrated and started to move away from the more classic style. It was around this time (in 1870) that she moved back home for a summer to sell some of her
Many modernist art movement moved away from traditional medium, topic and form in attempt to change the world through their art, including the influential feminist art movement who, through the efforts of individuals such as Judy Chicago and groups like the controversial guerilla girls, effectively altered the world and the way in which woman are viewed. The successfulness of the feminist art movement had on changing the world is reliant on individual opinion
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
People use art to display the beauty found in the world and, because of this, women have been subject to objection through paintings and photography all throughout history. Whether it is a commissioned oil painting from the 17th century or an advertisement from the 20th century, there will always be some type of image that objectifies women. In the book Ways of Seeing John Berger states that a woman “comes to consider the surveyor and surveyed within her as the two constituent yet always distinct elements of her identity as a woman,” (Ways of Seeing 46). Berger is saying that women know they are seen as an object purely because they are women. Women in paintings and photography are objectified for the pleasure of the viewer, they are illustrated for the surveyor’s specifications, so in essence the picture is a better representation of the owner than the subject.
Virginia Woolf, one of the pioneers of modern feminism, found it appalling that throughout most of history, women did not have a voice. She observed that the patriarchal culture of the world at large made it impossible for a woman to create works of genius. Until recently, women were pigeonholed into roles they did not necessarily enjoy and had no way of