Mother about to Wash her Sleepy Child: Examining the Theme of Maternity in the Work of Mary Cassatt

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.

In the short story, “Desiree’s Baby,” Kate Chopin exposes the harsh realities of racial divide, male dominance, and slavery in Antebellum Louisiana. Although written in 1894, Chopin revisits the deep-south during a period of white privilege and slavery. Told through third-person narration, the reader is introduced to characters whose individual morals and values become the key elements leading to the ironic downfall of this antebellum romance. As Chopin takes the reader through the unfortunate circumstances and unexpected twists of Desiree’s life, a Southern Gothic tale emerges. While Armonde is Chopin’s obvious villain, one should not assume that the other characters are not antagonists themselves, as

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

“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.

Both Mother Who Gave Me Life by Gwen Harwood and Woman to Child by Judith Wright, explore the bonds shared between mother and child. While both poems explore the same themes, each poet uses different techniques in doing so. Woman to Child is from the point of view of a mother. Although the poet has used the personal pronouns ‘I’ and ‘me’, the poem is not from Wrights point of view, rather, from every woman’s, as majority of women have experienced the intimate experience of becoming a mother. Like Woman to Child, Mother Who Gave Me Life also uses personal pronouns, but unlike Woman to Child, Mother Who Gave Me Life is a personal elegy for Harwood’s mother.

The post-modernist Julie Rrap is a contemporary artist whose focal point rests on the basis of femineity and the way the female identity is represented historically within art. She is a feminist who accuses the ‘male gaze’ of instigating a predatory activity that is accustomed with the norm of society. She relates this norm to existing social structures that are attributed with a patriarchal society, where women were nothing more than sexual objects. All in all this term, the ‘male gaze’ evaluates the predatory voyeurism of society, where the male is the active subject and the female is a passive object of representation.

When we look at this piece, we tend to see the differences in ways a subject can be organized and displayed. This assemblage by Betye Saar shows us how using different pieces of medium can bring about the wholeness of the point of view in which the artist is trying to portray. So in part, this piece speaks about stereotyping and how it is seen through the eyes of an artist.

The first stanza of the poem the speaker starts out using the word “you”. By using second person point of view the speaker appears to speak directly to the reader. “You remember the children you got that you did not get” (Brooks 2), here the speaker uses the term “children” to refer to her aborted children, which also gives them an identity. Brooks uses throughout the poem the word “children” instead of “fetuses” which gives the speaker the image of motherhood and a person compared to inanimate object. These are the children she has lost. The speaker goes on throughout this stanza to express to the reader all the things “you” will never get to experience with your children because of the decision to have an abortion. “You will never leave them, controlling your luscious sigh, / Return for a snack of them, with gobbling mother-eye” (Brooks 9-10), here the author uses metaphors about food, “snack of them” and “gobbling mother-eye” to illustrate the speakers yearning for motherhood that will never be. This is the only time in the poem other than the title that Brooks will use the word “mother”, all else will be implied that the reader is a mother to

Mary Cassatt is known world-wide for her impressing art in which she focuses mainly in the everyday life of women and children. She is an American artist born in Pennsylvania on May 22, 1844, but later relocates to Europe in 1866 to pursue to work in art. This was mainly due to her family’s and society’s objections to women in the field of art. There she met and befriended famous Impressionist Edgar Degas. Because of her close friendship with Degas, she grew courage to continue to do art in her own way. She continued to paint until she slowly began to lose her eyesight and later died in 1926. Cassatt was part of the Impressionist style movement, in which she painted portraits unlike many others who painted landscapes (biography.com). Her artwork

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

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

Judy Chicago (artist, author, feminist and educator) has a career that now spans five decades. In the late 1960s, her inquiry into the history of women began a result of her desire to expose the truth of women’s experiences, both past and present. She still continues on a crusade to change the perception of women from our history, “Women’s history and women’s art need to become part of our cultural and intellectual heritage.” (Chicago, 2011) Through our history women - their struggles, accomplishments and contribution to history, have been overlooked, downplayed and even completely written out of a male dominated society and culture. In anthropologist Sherry Ortner’s 1974 essay “Is Female to Male as Nature Is to Culture?” she supports this view, writing “…woman is being identified with—or, if you will, seems to be a symbol of—something that every culture devalues,” (Ortner, 1974) Where Mendieta's work primarily came from a striving to belong and an understanding of where she came from, I feel that Chicago's aim was to find a place for all women, past and present in this world, starting with herself in the art world. Chicago did explore her peronal heritage in later works entitled 'Birth Project' and 'Holocaust Project'.

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

Mary Stevenson Cassatt was an American impressionist painter. Cassatt is most remembered for her noteworthy paintings that portray special moments captured between a mother and her child. Cassatt stated, “I love to paint children. They are natural and truthful.” This quote is ironic to me because Cassatt was not married, nor did she have children. My notion is that Cassatt painted the important intimate bond between mother and child in this painting because she herself was longing for that feeling. As a result of painting this intimate bond she thought she could experience motherhood through art. The Child’s Bath is Mary Cassatt’s unconventional way of showing her long for family, independent spirit, and commitment to her craft. I feel that Cassatt was trying to show a mother the way she feels a mother should be. In the painting The Child’s Bath Cassatt paints the mother as someone who is embracing the lifestyle of motherhood. The painting shows the love and joy a mother has just by holding her child, and shows how a mother can have dignity in motherhood. When I first glanced at the painting The Child’s Bath, I saw simplicity in its most bare and beautiful

It is of a galvanizing importance to detect the analogy between the baby and writing. Both are instances of creativity and procreation. The way she gives birth to a baby parallels the way she is longing to “speak” and write poetry. “[Her] voice alarms / [her] throat” (42-43) and now “[she] can say” (46). She is a woman who creates her own artistic identity in relation to her physical and linguistic empowerment. Lakoff drives the message home when showing how Sexton is now “talking like a lady” in the same way her body becomes a sign of strength and her baby her first collection of poems (qtd. in Mills 133). The baby can be paralleled to her body of works since “all [she] did” (16) is to care for it in order to foster her ability to speak.