In her article, “Daring to Be Different: A Look at Three Lesbian Artists,” Laurel Lampela invites the readers to focus on three female historical artists named, Rosa Bonheur, Romaine Brooks, and Hannah Gluckstein, who had the courage to spend their life and have the appearance as lesbians. As mentioned by Laurel, these female artists challenged and disobeyed the traditional attire for women by dressing in ties, shirts, and pants instead of skirts or dresses, which were the general clothing for women in the 19th century (Lampela 2). The key question that the author is addressing are the lesbian artists’ significant contributions on the history and education of art. The most important information in this article is Bonheur, Brooks, and Gluck’s confidence in going against the law where women wears masculine attire. During the 19th century, Laurel Lampela discusses that a woman could not wear pants or cross-dress …show more content…
By this concept, the author Lampela means that it is important for the readers to acknowledge that these three lesbian artists are dressing in male attire to gain their identity as lesbians and to display their power, since women in dresses were viewed with less ability to do something (Lampela 3). The main point of view presented in this article that the author is looking at are Bonheur, Brooks, and Gluck’s true intentions of wearing pants, shirts, and ties, which was not to display themselves as a man but to step away from gender roles in their society and to show that they are independent, determined, and intransigent female individuals (Lampela 4). Brooks, Bonheur, and Gluck were able to distinguish themselves as lesbians instead as conventional women; and it is with their courageous act that positively affected their life’s work and allowed other lesbians to have an identity as who they are in the next century (Lampela
Upon reading the article “Daring to Be Different: A Look at Three Lesbian Artists” by Laurel Lampel, the author’s main purpose is to discuss that unlike other female historical artists during the mid-19th century there were three artists whom dress and lived as lesbians, changing the norm of gender roles, and presented themselves differently to society (Lampel, 2). In addition to those experiences, it created a major impact for the artists’ new perceptions towards art history and art education (Lampel, 2). Those three artists were Bonheur, Brooks, and Gluck. The key question the author is addressing is her argument stating that from a passage in Deuteronomy, both genders are not allowed to wear each other’s clothing and in the mid-19th century
It is often found that the stereotypical “butch” and “femme” pairing are more visible than other lesbian relationships. However, this does not mean that they do not exist. The ever-growing popularity of the lesbian social sphere has symbolized both difficulties and effects of identifying with such a label. The label or identity itself, though distinctly separating lesbians from “normal” heterosexuals begins to exhibit pre-existing conflict experienced by gay males: “there’s always been something wrong (Aldrich, 38).” This quote implies the conditioned and ingrained belief that homosexuality’s “taboo” existence was more than just wrong, but distasteful and something that society should look down upon for being an “abnormality.” Sometimes, this social reality for lesbians made it hard for them to “come out the closet” and be visible. This experience is exemplified as “The repressed lesbian has a harder time of it, for she is less aware of her abnormality (Aldrich, 41).” Additionally, to be able to clearly and accurately identify “the lesbian is to meet the many women she is at close range; to see her against her various backgrounds, hear her sundry voices, and familiarize yourself with the diverse facades of her several lives (Aldrich, 42).” Here, the presence of the “double life” is demonstrated to further analyze the lack of privileges that the lesbian community had, including the social aspect of their
In the first image on the left, a man is kissing a lady; the artistic way of expression can be interrupted as disrespectful or offensive. Her work has had a lot of criticism as there is too much sexuality featured. For example, the boy and the girl on the cliff having oral sex. Nevertheless, she doesn’t shy away from controversial topics of racism, gender,and sexuality in her paper -cut silhouette.
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...
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
...d women’s fashion to break free from convention. Bras and corsets were seen as symbols of oppression and conformity. They were discarded by many women as many new fads appeared,(). Women also exhibited their newfound freedom by wearing traditional male clothing such as baggy trousers, men's jackets, vests, over-sized shirts, ties and hats.
To understand and add historical to the opinion the public felt towards homosexual women in the 1950s it is imperative to understand the popular view held by much of the public towards lesbians as early as the mid-nineteenth century. In 1843 William Bryant wrote an essay that was published in the Evening Post that described a portion of his trip to Ver...
While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it.
“Aunt Alexandra was fanatical on the subject of my attire. I could not possibly hope to be a lady if I wore breeches…” (Lee, 81).
From the moment a woman is born, she is automatically expected many things from her. Wear a dress, have no body hair, be with a man, don’t be too loud, etc. The list of “norms” that a woman is anticipated to uphold to goes on for days. And often times, women that decide to branch out from those “norms” are viewed as less valuable or obscene. In Robyn Ochs essay, “Bisexuality, Feminism, Men and Me”, she discusses the revolutionary moment when she realizes that living up to the assumptions of what it means to be a woman systemically limits us from our true potential. As presented in the movie “Frida”, a brilliant artist is often times overshadowed by her promiscuous relationships with women and men. A woman’s life does not dwindle down to the
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
During the early 19th century women were expected to wear long, heavy skirts and tight corsets, which often made breathing strenuous. Those who rejected these styles found themselves the center of public humiliation. Gerrit Smith, a top United States politician and abolonist declared, “Women could not hope to be accepted by men as equals until they began to dress more practically.” (George Sullivan) Gerrit Smith’s ideas sparked an idea in his daughter, Elizabeth Smith Miller’s mind. Elizabeth thought of wearing a pair of ballooning pants under a skirt at knee level. This impressed Elizabeth’s cousin Elizabeth Cady Stanton, who was an American social activist and was extremely influential in the Women’s right movement. Elizabeth loved her cousin, Elizabeth Smith...
Hoagland, S. L. (1988). Lesbian ethics :Toward new value (1st ed.). Palo Alto, Calif.: Institute of Lesbian Studies
Hollander continues her argument by presenting the reader with more images women in private spaces, having private thoughts while wearing public dress. The idea that these women are so comfortable in these corseted, elaborate garments, that even private contemplation cannot separate them from dress, leaves the viewer with the impression that these women have no other state of being. Hollander’s conflation of private moments with public dress makes it clear why she avoided including Tissot in her
Tertullian. “Chapter1. Modesty in Apparel Becoming to Women, in Memory of the Introduction of Sin into the World Through a Woman.” On the Apparel of Women. Trans. S. Thelwall. Ed. Alexander Roberts, James Donaldson, and A. Cleveland Coxe. Vol. 4. Buffalo,NY: Christian Literature, 1885. Print.