Feminism : The New Woman, The Flapper, And The Garconne

1950 Words Aug 30th, 2014 8 Pages
In the rapidly shifting world of modernity, where political landscapes were changing as quickly as the urban environment, expectations of femininity also experienced great change. During the early 20th century, particularly in Paris, a new archetype of the modern woman began to develop . Many artists like Tamara de Lempicka, used portraiture to further perpetuate this figure. By the 1920 's this character, known as: the New Woman, the flapper, and the garçonne, had begun to permeate public perceptions of femininity instigating ideas of female emancipation . This woman smoked in the streets, drove cars, was sexually liberated, and generally less reliant on her male counter parts . The domesticated ideal of bourgeois femininity had fallen out of fashion. The unprecedented number of women artists whom were creating portraits of other women as well as themselves unquestionably influenced the appearance of radical femininity in Modern portraiture. Each of these women brought with them their unique perspectives on femininity, many of which were dramatically different than that of their male counterparts. From Mary Cassatt 's depictions of mothers and children, to Romaine Brook’s and Gluck 's dandy-esque self-portrait, or Claude Cahun and Marcel Moore 's critical explorations of gender, these women created a new paradigm of female representation in art. All of these artists questioned and challenged the role of women in Parisian society by representing women in ways which were…

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