Art History By Whitney Chadwick: Mistreatment Of Women Artists

How do the works of Yasumasa Morimura, Julie Rrap and Anne Zahalka challenge conventional ways in which gender has been depicted historically in the visual arts?

The artwork I chose to view through a gendered perspective was John Sloan’s Three AM. Three A.M. was made in 1909 and is an oil painting on canvas. John Sloan describes the painting as a look at a “curious two room household” ("Philadelphia Museum of Art - Collections Object: Three A.M."). I chose this painting because it reminded me of times I have shared with my best friend. The scene reminded me of the countless nights I have spent with my best friend in the kitchen baking cookies and gossiping. When I went to the museum, I was with my best friend and the first thing that came to mind when we saw this was, “This looks like us in my kitchen like two weekends ago.” It made me think, if someone had just captured a small moment of us and painted it, it would look very similar to us. Sloan characterized himself as a sort of “window watcher” (Coco 1), which is evident in the way he painted the two women. He painted the room in a “binocular view” (Coco 1) that looks like it was painted while watching these people from a window. This painting has many gendered aspects, some of which are stereotypes. My gender, as well as the artist’s gender, influence the understanding of the work of art.

Gender discrimination is an issue that is ongoing since the colonial times. However, the fight against gender discrimination is not just an issue of the past, but also an issue of the present. In the current 21st century, there are many people who are still fighting for women's equality in society. Women are still getting paid less than men, and are still looked down upon in certain career paths. More action is needed to bring awareness to people about the inequality women still struggle through. More people need to be informed about the inequality women face. Adelaide Labille Guiard’s oil painting in Paris from 1749-1803 called Self Portrait with Two Pupil, served as a propaganda to fight for women’s attendance in the French Academie Royale. It illustrates a self portrait of Guiard, herself, and two of her pupils, Marie Gabrielle and Marie Marguerite Carreaux de Rosemond. In her self portrait, she paints herself in an art studio while her two pupils are by her side. Like Guiard’s self portrait, more effort through social media and the arts

Throughout history people can see many of the developments and differences among cultures, through the artworks that were produced. This essay will carefully analyze, evaluate, and compare four distinct works, from different time periods and cultures. The works to be compared are: The Woman from Willendorf, The Bust of Nefertiti, Figure of A Woman, and Young Flavian Woman. Throughout this paper the style and function of each individual work will be explored, along with the cultural ideas presented in each piece.

Rona Goffen and Mary Pardo both discuss the uses of and responses to Titian’s paintings of women. Goffen focuses on who these women were, their agency, and what can be gleaned for the details of such paintings to come to a conclusion. Pardo focuses on how Titian’s abilities to make paint tactile relate to the eroticism and sexuality of his art. Both authors bring up ideas of agency and gender in art and also the importance of understanding these paintings, and their sitters, in their time.

Disadvantage may indeed be an excuse; it is not, however, an intellectual position. Rather, using as a vantage point their situation as underdogs in the realm of grandeur, and outsiders in that ideology, women can reveal institutional and intellectual weaknesses in general, and at the same time that they destroy false consciousness,

As makers of art in the 9th-12th century, women were mostly considered as amateur painters. Theirs artworks were small in scale, meant for private viewing by a female audience, and created to accompany literature. In addition, there was less skill in the brushwork. Examples of the types of pieces that they produced were uta-e (poem picture) and monogatari-e (tale picture). It was not until the first half of the 12th century that this changed and women were now seen as semiprofessional painters. They were able to execute more public works, such as the twenty-scrolls on The Tale of Genji. Whether women were viewed as amateur or semiprofessional painters, they still contributed greatly to Heian

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

This responsibility is laid upon artists as one that entails creating art that would promote advancement of the development of society and should also not be overly offensive to the general public or specific groups of people. There is no way to please everyone in this sense, but artists should try their best when working for the public. Art created by artists receiving public funding should hold personal meaning and display individual creativity imagination. An example of a work of art that upholds social responsibility is “Srikandi” by Lucia Hartini. This painting holds certain feminist values and challenges the traditional roles and expectations of women as being regarded as inferior and subordinate to the rules of men (Birch 1). Hartini shed light on the struggle that Indonesian women face every day as they are trapped in this social problem of

In the today’s society, it may appear that women’s rights have been propelled forward by equal opportunity sanctions. However, taking a more concise look at different spectrums, such as the art world, it appears that many women are still being snubbed despite their artistic abilities. In

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

(Millhouse, 2011) In the 1980’s Pollock’s Feminism “critiqued the essential myths of individualism, the artist, and the social constructions of femininity and masculinity that define bourgeois culture”. While the 70’s feminism movement aim was to stand next to the existing masculine dominated culture. “Feminism's encounter with the canon has been complexed and many-leveled: political ,ideology,mythological,methodological and psycho-symbolic” (Pollock, 1999). The 1970’s movement was followed by the immediate task which was “the need to rectify the gaps in historical knowledge created by the consistent omission of women of all cultures from the history of art” (Pollock, 1999). The only art that was put on display was significantly male dominated work, if you wanted to see work created by women, you would have to view them “in a basement or storeroom of a national gallery” (Pollock, 1999). Female artists are only known in their own category of female artists while male artists don’t require a separate category . Art that is created by females have been historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

When one thinks of art and religion, one may think of gender role defiance and non-conformism. While this may be generally true in present times, it was not always this way. Women and men have had distinctly different places in society, these places often being unequal. Generally most well-known works throughout the ages have adhered to and represented what society regarded as the proper gender roles for men and women. This is represented in three works of art which will be discussed: Hamlet by William Shakespeare, The Courtier: Book 3 by Baldassare Castiglione, and Luncheon on the Grass by Eduoard Manet. While these three forms of art come from different times and are of different mediums, they are connected in that they follow and represent the gender roles of their time.

Throughout history many artistic works have been deemed "great" and many individuals have been labeled "masters" of the discipline. The question of who creates art and how is it to be classified as great or greater than another has commonly been addressed by scholars and historians. The last quarter of the 20th century has reexamined these questions based on the assertions that no women artists have ever created or been appreciated to the level of "greatness" that perpetually befalls their male counterparts. The position that society has institutionalized on women as unable to be anything but subordinate and unexpressive is a major contributor to this claim. Giving a brief history of gender discrimination in the art