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Essays on women in art
Essays on women in art
Feminism art works in 20th century
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It has been an assumption of feminist students of art history that their task is nothing less that to rewrite the history of art (Broude & Norma 1982, 183). The question off course is, how is it done? What doe sit entail? However, steeping back for a while, what lead to this assumption, what is the underlying issue that current feminist female arty history student’s sort to conquer? Woman’s relations to artistic and social structures as been different to that of male artist, to discover the history of women and art is in part to account for the ways art history if written, exposing its underlying values, its assumptions, its silences and its prejudice (Parker &Pollock 2013, 3). Works by famous feminist historic writers such as Linda Nochlin, Pollock and Norma Broude, and others has been focused on the issue of women in art history. This paper aims at examining the literature around woman in art history form the 19th century through 20th century. Feminist inquiry in art history began in 1971 with Linda Nochlin article “why have there no great women artist” (Peterson & Mathew 1987, 325), to answer her question she stress that, arts is not a free autonomous activity of a super endowed individual influenced by previous arts or social factors, but rather art is an integral element of structure and is determined by specific social institutions such as arts academies, patrons, patriarchal culture or the myth of the divine creator (Peterson &Mathew 1987, 325). Nonetheless, Parker and Pollock took a fundamentally new direction from earlier surveys, evaluating women’s historical and ideological positions in relations to art (). They accounted that the prescription of the Victorian writers insidiously prepared the ground for twentieth dis... ... middle of paper ... ...r than synthesizing other relevant accounts to effectively examine the feminist art history. Regardless, they both agree on the point that training and education can be accounted as one overarching factor that underpins the omission of female artist, as their work were not believed to be significant. Finally, the debate over greatness as established by Linda Nochlin exemplifies the nature of the issue raised among the first generation of feminist writers like Virginia Woolf (). Consequently, by emphasizing the primary role of institutional factors in determine artistic achievement, Nochlin challenges the myth of the great artist as one who is endowed with mysterious and ineffable quality called genius (). However, as Norma broude later pointed out, Nochlin did not question the authority or validity of the male-defined notion of greatness and artistic achievement ().
The male artists portrayed women as a projection of their ideal woman. The artist’s often overlooked the women’s identity’s and personalities in favour of creating aesthetically pleasing art for themselves and other superior males to view and enjoy. This was especially harmful because the more popular the art grew to be, the more often women were categorised as objects rather than people. The art contributed to gender construction by creating these gender roles and reinforcing that in all situations, men were superior to
No person is capable of perfectly articulating Virginia Woolf’s opinions on certain matters. However, through the observation of her works one might be able to gather her thoughts and form a more accurate description of her ideals. A Room of One’s Own contains Woolf’s ideals dealing with women in the arts, especially those associated with liberal arts. In this piece, Woolf describes a lack of strong women writers for her research, but does name a few she deems worthy. It seems odd that Woolf would overlook Germaine de Stael while researching women with literary talent.
During the postclassical era, major societies and religions developed various perspectives about how women should be treated and how they should behave. One viewpoint on how women should be treated included the idea that they were a symbol of enticement and possessed liberal and unintelligent qualities; making them considered unequal to men. Dissimilar to this belief, another standpoint concluded that women had equivalent roles as men and should be treated with respect. Women played both a demeaning and dignifying role in the post classical era in multiple significant societies and beliefs, which decided how they should be regarded and viewed.
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
In “Tradition and the Female Talent: The Awakening as a Solitary Book,” Elaine Showalter makes a compelling argument that “Edna Pontellier’s ‘unfocused yearning’ for an autonomous life is akin to Kate Chopin’s yearning to write works that go beyond female plots and feminine endings” (204). Urging her reader to read The Awakening “in the context of literary tradition,” Showalter demonstrates the ways in which Chopin’s novel both builds upon and departs from the tradition of American women’s writing up to that point. Showalter begins with the antebellum novelists’ themes of women’s roles as mothers—especially the importance of the mother-daughter relationship—and women’s attachments with one another and then moves to the local colorists of the post-Civil War who claimed male and female models but who wrote that motherhood was not a suitable partner for the true artist. According to these women writers, a woman had to choose to be either an artist or a wife and mother; one negatively affected the other. The literary history then delves...
...witty comical banter helps spread the understanding of the underlying themes behind the humor. It makes it easier for the artists to connect with the audience about feminism without an aggressive and hostile approach to the work. I believe viewers are more likely to communicate upon the works of the Guerrilla Girls with one another in society when they take on a more comedic approach. This investigation has examined the Guerrilla Girls through direct connection to the inequalities of compliance of power over women in the art world. Several themes were highlighted within society that reinstated these cultural norms of gender and sex within the institutions of art. With a variety of forms used by the Guerrilla Girls to redefine women's identity in history they were able to break down such barriers that stood in the way which denied the prosperity of female artists.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Linda Nochlin in her article, “Why Have There Been No Great Women Artists?” discusses the various aspects to this issue and believes that even though the legal battles of the feminist movement provided formal legal equality to women, too often, it does not ensure substantive equalities. The explanations to this problem can cover the spectrum from sexism to feminism. Nochlin rightly believes that perhaps, the true answer lies in the institutional problems that plague our society. As Nochlin points out, “as late as 1893, lady students were not admitted to life drawing at the Royal Academy in London, and even when they were, after that date, the model had to be partially draped.” The very fact that women artists were denied the right to paint the nude model which was considered critical to the success of any artist validates the point of institutional bias against women. To deny an artist the opportunity to develop proficiency in painting the nude is denying them the prospect of painting historical themes. Most women artists were left with no choice but to concentrate on painting everyday subjects like portraits and still-life. This was a great setback to
Amelia Bloomer:Amelia Bloomer was born in Cortland County, New York, in 1818. She received an education in schools of the State and became a teacher in public schools, then as a private tutor. She married in 1840 to Dexter C. Bloomer, of Seneca Falls, New York. Dexter C. Bloomer was editor of a county newspaper, and Mrs. Bloomer began to write for the paper. She was one of the editors of the Water Bucket, a temperance paper published during Washingtonian revival. Mr. Bloomer lived in Seneca Falls in 1848, but did not participate in the Women’s Rights Convention. In 1849, Bloomer began work with a monthly temperance paper called The Lily. It was devoted to women’s rights and interests, as it became a place for women advocates to express their opinions. The paper initiated a widespread change in women’s dress. The long, heavy skirts were replaced with shorter skirts and knee-high trousers or undergarments. Bloomer’s name soon became associated with to this new dress, and the trousers became known as Bloomers. She continued to new dress and continued advocating for women’s rights in her paper. In 1854, Mrs. Bloomer began giving numerous speeches and continued to fight for equal justice for women.
There is a long history of gender roles in society. The expectations of gender roles continually shift; however, there is not a time when women and men share the same equalities simultaneously. The idea of how men and women should act is instilled in us at a young age. I think it starts really young with girls and boys being told what they can be and when they see what they are expected to be, they abandon parts of them which society deems as undesirable. We don’t acknowledge how much pressure we put on men and women to conform to the ideas of gender roles but it is apparent in our media and in the history of our art. One of the most influential things about figurative art is that it has the ability to capture society’s concepts of how men and women are expected to be during that time period. One thing for certain about gender equality is that it has historically and predominantly been a women’s movement. This sculpture, entitled Portrait Bust of a Woman with a Scroll, stood out to me in particular. It is is made of pentelic marble and dates back to the early 5th century. The sculpture shows a woman with a restless face, clothed in a mantle and head piece while holding a scroll. This sculpture reflects the women’s intelligence and capabilities being overshadowed by her gender and
In her essay, entitled “Women’s History,” American historian Joan W. Scott wrote, “it need hardly be said that feminists’ attempts to expose ‘male biases’ or ‘masculine ideology’ embedded in historical writing have often met with ridicule or rebuttal of as expressions of ‘ideology.’” Scott’s essay discusses the efforts of female historians to both integrate themselves into the history disciples and their struggle to add and assimilate female perspectives, influences, and undertakings into the overall story of history. She also talks about the obstacles and potentially biased criticism that female historians have received and faced upon establishing themselves as accredited members of the historical academic community. One of these historians is Natalie
Virginia Woolf, one of the pioneers of modern feminism, found it appalling that throughout most of history, women did not have a voice. She observed that the patriarchal culture of the world at large made it impossible for a woman to create works of genius. Until recently, women were pigeonholed into roles they did not necessarily enjoy and had no way of
Women’s history challenges the narratives politics of history and isolates women topics of history. Women’s history states that women’s world is rituals and men’s world is politics. Women’s history is nee...
In the course of human events, women have been subjected to being seen as far less superior than men. Women through most of history have never been seen as equals to men and seen as pitiful and slave like, but women have tried to change the views of society and become equal. Feminist art was a major contributor in helping women fight these societal views during the feminist movement. Many talented women artist banded together during the 1960-1970s to be able fight the societal view as a woman. Their art was sometimes not accepted by society for exploring subjects that were not accepted for that time. They fought to make their topics they talked about socially accepted. Artists such as Judy Chicago, Barbara Kruger, and guerilla girls helped spark and shaped the feminist art movement by
Many female writers see themselves as advocates for other creative females to help find their voice as a woman. Although this may be true, writer Virginia Woolf made her life mission to help women find their voice as a writer, no gender attached. She believed women had the creativity and power to write, not better than men, but as equals. Yet throughout history, women have been neglected in a sense, and Woolf attempted to find them. In her essay, A Room of One’s Own, she focuses on what is meant by connecting the terms, women and fiction. Woolf divided this thought into three categories: what women are like throughout history, women and the fiction they write, and women and the fiction written about them. When one thinks of women and fiction, what they think of; Woolf tried to answer this question through the discovery of the female within literature in her writing.