Judith Leyster Thesis

In the picture Leyster drew a man playing a violin. There is no record that Leyster herself was a musician but she was obviously artistic and creative. The lively violin player on her easel is her way of showing off another painting type besides portraiture that interested her customers: scenes of people having fun, making merry. An artist who can wield eighteen brushes at once must be skilled. While she was not academically educated in today’s sense, Leyster may have trained in the workshop of Frans Hals, the great Dutch

. In the section of her article called The Painter of Modern Life, Pollock uses an essay written by Charles Baudelaire during this time period, to explain how women were viewed in 19th century Paris (Pollock, 254). In this essay Baudelaire follows the travel of an artist through the streets of Paris. She uses this essay for two key reasons, first of all it shows how a man in Paris had access to different places of public life that women were not entitled to go and

“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth.

Judith Ortiz Cofer Was born in 11952, she moved with her family to Paterson, New Jersey, and when she was fifteen, the family settle in Augusta, Georgia. She is the Author of numerous books. In this essay from her book Woman in Front of the Sun: On Becoming a writer (2002) Cofer remember a woman who make a big impact in her life during her teenage, Ms. Cofer talk about the Sister Rosetta as role model, she describe her with unique technique as teacher.

Hudson Taylor and Mary Slessor, missionaries who impacted their societies, have many similarities and differences that divide and bring them together. Both Slessor and Taylor were both came from a Godly family, and they both left there home country to go serve and speak the word of God to the unknown. They were both amazing in what they did and both of their stories are extraordinary. Most would think that Slessor's story may be a fairy tale, but her story is one-hundred percent true. Taylor's story is unbelievable, he left a life of fortune and riches to live like poor Chinese men.

Helen Levitt was an incredibly influential street photographer starting in the late 1930’s and was active all the way until the 1990’s. She enjoyed much early success in her photography career photographing day-to-day happenings in the world around her, this set the stage for a long and very important career. Her photography can be described as objective because through her work she represented New York in a non bias way, photographing day to day happenings in her local life in Brooklyn, New York and the surrounding city such as children playing in the streets (Broken mirror), and adults going about their usual business gossiping, and simply their city life (Checkered Car). However, some may argue the point the Helen may have done an outstanding job at creating the illusion of objective work by photographing specific happenings around her world, and creating the illusion of a status quo. As seen in the photo Girl/Green Car all was not positive, uplifting, and graceful as many of her photos represent, the girl is seen

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

Stylistic and devised with two distinct media and movement, and these artists have created reminiscent portrayals of educated women. The undertows of these artworks subjects reveal the likes of emboldened females, and mutually illustrated by their brilliant artists. Fittingly, an International Women’s Day slogan, stated, “Educate a girl, and you empower a nation," a dictum that will prove transcended and parroting both artwork’s focused images (Philanthropy Age et al.). Now, that is a picture and caption moments worth captivating. On one hand, we have John Opie a British artist who was sort after for numerous commissioned portraits by the elites at the time, and a lifetime that bestowed over 300-paintings.

In her novel Girl With a Pearl Earring, Tracy Chevalier constructs the story of Griet, the imagined subject of Vermeer’s famous painting. In doing so, she sheds light on the culture of 17th century Holland, particularly the tensions and differences between the communities of two Christian sects. Born into a Protestant family, Griet is forced to work as a maid when her father cannot support the family. The artist Vermeer becomes her master, and she must learn to navigate his Catholic household. As Griet reacts to the new culture she has been thrust into, many historical references to 1660s Dutch society can be found.

Judith Leyster was born in Haarlem, Netherlands in 1609. Her Self-Portrait (above) is actually in the National Gallery of Art, in D.C.! However, this work marks a historical shift from the rigidity of earlier, more formal self-portraits painted by female artists. Instead, she sits in a more relaxed and dynamic pose. Compared to the standards of previous Dutch portraits, it’s very casual, which was nearly unheard of during the Renaissance. Leyster was the daughter of a brewer and was the first Renaissance artist to paint scenes of home, family, and domestic scenes. She also was one of the first painters to begin introducing light sourced in her paintings, such as in The Proposition (1631). Judith Leyster’s

Gender discrimination is an issue that has been ongoing since the colonial times and has continued to modern day society. The fight against gender discrimination is not just an issue of the past, but it is also an issue of the present. This issue has not been resolved. 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 that 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 to 1803 called Self Portrait with Two Pupil, served as a propaganda to fight for women’s attendance in the French Academie

In this essay Hills goes into the mindset of artist John Sloan. Sloan wanted his paintings to be different from his political art, and one of that ways that he separates them is by using women as his main subjects. With the aid of Sloan’s dairy Hills gives the reader why he chose to separate his political drawing from his paintings. This essay also goes into details about how women are used in his paintings. The fact that he sees them as people in and of themselves, not just another object to admire; going about their lives like in the painting Three A.M and being more visible then there male counterparts in a painting like that of Turing Out the Light, doing the action and not just being the receiver of it. Hills goes into detail about the

Portrait painting thrived in the Netherlands with the increase in production driven by interest in the idea of personhood and the definition of the individual self. Portraits help document the development of a personal identity as it connects factors like marital status, class, and profession. A common portrait genre produced during the seventeenth century portrays their subjects with an impassive demeanor with little vigor. At first, these paintings may be evaluated as lacking “personality” or “characterization” due to the artist’s lack of talent. However, this is rarely the case. In trying to understand Dutch portraiture, it is important to identify what type of functions they serve. Abraham de Vries’ Double Portrait functions not only as recording of his sitters’ faces but also as a signifier of the cultural, social and philosophical ideas of the time.

In this climate, an artist could assert himself as a rarefied being, one leading the search for beauty in an age marked by social hypocrisy, shameful class inequality and illiberal complacency. No-one adopted this attitude more boldly, or with more shameless flair, than Oscar Wilde. His dedication to living a life of beauty and to transform his life into a work of art is reflected in the beliefs and actions of many characters in his only

Oftentimes, portraits are mistakenly believed to be objective representations of their subjects by the uninformed viewer. Thus, portraits are thought to simply depict the exact likeness of their sitters. In reality, however, they reveal much more than just the physical appearance of their figures. Portraits can, and usually do, convey a significant amount of information about their subjects, such as their wealth, social status, marital status, and moral virtue. Through the use of visual features like garments, props, and pose, portraits also tend to ascribe these attributes to their sitters, whether or not such characteristics are accurate. George Willison’s Nancy Parsons in Turkish Dress (1771) painting provides an excellent example that portraits are not merely records of how their sitters looked. With a thorough analysis of the portrait, multiple implied messages about Ms. Parsons are exposed. The Nancy Parsons in Turkish Dress portrait illustrates her profession as a courtesan, wealth and social status, and conformity to the contemporary conventions of femininity. Notorious for engaging in many intimate relationships with aristocratic men of all ranks and ages, such as Duke of Grafton, Duke of Dorset, and Viscount Maynard, Nancy Parsons wishes to emphasize these aspects of her identity in the painting to preserve her public self-image from further scandalous claims.