Who Remedios Varo Is By Inga Muscio

The question “Why have there been no great women artists?” has been debated since the 1970’s, when historian Linda Nochlin released her book of a similar name. In the decades that have followed, the number of women pursuing education and

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

The Mexican Artist Frida Kahlo is best known for her profound artwork and iconic likeness to the artist. She explores the ideas of gender, nationality, class, politics, etc. The emotional intensity and imaginative aspects of her artwork led many to label Frida as a surrealist. Although accepting this label, Frida distinguishly noted that her paintings are not of dream worlds, like other surrealists, but of her own reality. Frida Kahlo’s “The Broken Column” has influenced how I view myself and the world around me through its depiction of spiritual tranquility and physical anguish.

1985 (Figure 2) first appeared in 1985 plastered on billboards around New York City. The piece is illustrated in monochrome colours so to not distract viewers from the meaning of the poster. The harsh contrast in colours between the black writing and white background make the piece stand out and draw the attention of bypassers. Written on the artwork is a list of well-known museums in New York City and beside them is a score of how many women artists have had one-person exhibits there in the past year. The results showed that the Guggenheim, Metropolitan and Whitney museums each had zero, whilst the Modern museum had one. These results are supposed to shock the audience and make gallery curators feel a sense of guilt, that it’s clear the art world don’t appreciate women artists like they do men. Whist they are confronting the public with that truth they are also providing another critical message with this piece. The Guerrilla Girls identified these museums by first name, not out of convenience, but to make a statement, that the only museums to allow women artist some form of respect like male artist do was the ‘modern’ museum. Emphasising the fact that gender discrimination and bias nature in the art world should be in the past, and the only museum that realises and recognises this is the modern one. The poster’s main message challenges the patriarchal world of art and confronts art galleries

“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.

Knowing the sex of the artist introduces the preconceived notion of how the artist may view the opposite sex. In this painting, because I know the artist is a male when viewing the subjects of the painting I understand why they are painted in the way they are. His gender influences my

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.

The social role and stature of women has been an eternal topic. In an age when the images of women were expected to be associated with marriage, motherhood, and domestic matters, few Americans could have thought of a young woman from an upper-middle class family would pursue professional study of art in Europe in the late nineteenth century. Yet, praises and critics both fall on the young artist, Mary Cassatt (1844 - 1926). In this paper, I will show how two historians contrast about the their views of this feminine artist, as well as their methodological approaches.

The 17th century was a time of great change in the art world; characterized by the introduction of the Baroque style and the Counter-Reformation, the influential and talented artist Artemisia Gentileschi was born into this period. Gentileschi was one of the few female artists during the renaissance period due to a misunderstanding among the male artists of that period that women are automatically inferior in intelligence due to their very nature. Gentileschi was decided to be an anomaly among artists due to her brilliant painting skills and considered rare. Despite having many detrimental setbacks to Gentileschi’s career and mental wellbeing, she went on to become a very successful

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

Artemisia Gentileschi was an Italian painter who lived 1593-1656. She is known today as one of the most talented Baroque painters in history. Artemisia Gentileschi was not only known for her artistic talent, but also for the bold subject that she touched on in the majority of her paintings: woman equality. She knew how women were viewed by men and wanted to do something to change it. More than 90% of Gentileschi’s work features women who are showsn as being equal to men. She went against the stereotypical view of women as being sensitive and weak and portrayed the women in her work as courageous and powerful. At this time, women weren’t taken seriously so the fact that she stood up for what she believed in and portrayed her thoughts

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

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

For the beginning years of Frida’s artistic career, her work was greatly over-shadowed by Diego Rivera and was mainly known as just “Diego’s wife.” It wasn’t until 1938 that surrealist artist Andre Breton arranged for Khalo to have her first solo exhibition at the Julien Levy Gallery in New York, which was a major hit. After much praise and great success, a second exhibition followed in Paris in 1939. Although the success of the Parisian expose wasn’t as great, the Louvre decided to purchase a painting from Khalo, The Frame, cementing her as the first Mexican artist to be featured in their collection. Despite the many barriers that women faced when establishing themselves as great artists, Frida Khalo had the virtue of being a woman in Mexican culture, which for the most part, was inclusive towards women and regarded them (women/mothers) as of equal importance which allowed for them to interact in the same social circles as men.

Frida Kahlo is a world-renowned Mexican painter known for her shocking self-portaits filled with painful imagery. Her artwork was seen by many as surrealist and socialist, but she refused the labels put on herself. Until today, her works have been able to exude the same playful and wild feel as before (Fisher n.p). Her legacy as a painter has attracted prominent people like Madonna who has confessed her admiration for the painter. Not only that but fashion designers are frequently inspired by her iconic Tijuana dresses while her paintings have been priced at more than three million dollars (Bauer 115).