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Essays on women artists
Essays on women artists
Essays on women artists
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During the 1940s and 1950s women artists were not always appreciated and seen as polished educated women artist. As an inspiring painter, printmaker and art teacher Florence McClung accomplished many awards in her life time, faced a difficult period of discrimination towards women artist, and faced exclusion by printmaker companies. On the other hand, McClung did not let anything impede her great achievements. McClung was born at St. Louis, Missouri in 1894 and moved to Dallas in 1899 where she remained. She studied art in the Dallas studios of Texas artists where she received a B.A. in art and English and a B.S in education. In 1939, Metropolitan Museum of Art in New York bought McClung’s painting (Lancaster Valley, 1936) which made her the
Annie Turnbo Malone was an entrepreneur and was also a chemist. She became a millionaire by making some hair products for some black women. She gave most of her money away to charity and to promote the African American. She was born on august 9, 1869, and was the tenth child out of eleven children that where born by Robert and Isabella turnbo. Annie’s parents died when she was young so her older sister took care of her until she was old enough to take care of herself.
Death: 15 October 1977, Sydney. She was bludgeoned to death with a large piece of timber in her Paddington studio, her fingers found broken, and her body battered. The murder was never solved, but there has been some speculation that she was a victim of the serial killer, John Wayne Glover.
As a writer, most of McClung’s work indicate a strong focus on, and sympathy with, the rural woman and her family (****-1981). Although, in her fictions she loved writing about women, who transcend the barriers and prejudices the face through sheer force of character (many of which resemble herself) (*****-1981). This contrast of the weak rural woman and the strong characterized woman can be seen as McClung’s illustration of how the quality of life was for women in her era and she promotes the strength in women to defy the prejudices. She stands as an example for these women, to fight for what is right, just as she does.
Faith Ringgold was born in Harlem on October 8th 1930, the great depression had just ended and although she lived in the north, racism was still going on all throughout the country. As a young child, Ringgold was often bed ridden because of harsh asthma and during this time she often would draw. In 1950 she got her own studio and started working on oil painting projects. By 1962 she had gotten her MA in Art at the City College of New York, had two daughters and had been divorced and remarried. Ringgold was greatly influenced by a family who loved storytelling and learned from her mother’s stories about the ancestry of the slaves. Ringgold was both an artist as well as a teacher of art within the New York City public schools and a professor at the University of California, San Diego. Throughout her lifetime and time of her paintings, the civil rights movement was in full force.
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
Audrey Niffenegger was born in the town of South Haven, Michigan in 1963. When she was a small child her family moved to Evanston, Illinois, since then she has lived in or near Chicago. At the age of fifteen she started making prints under the name of William Wimmer. Niffenegger studied to be a visual artist at the School of the Art Institute of Chicago.In 1991, Audrey Niffenegger then went on to receive her MFA from Northwestern University's Department of Art Theory and Practice. Her artist's books, prints, paintings, drawings, and comics in the Printworks Gallery located in Chicago since 1987. She has 239 paintings displayed at The National Meuseum of Women in the Arts. These paintings are not like most, in that the women depicted in the paintings are not smiling. The subjects of the paintings seem to be shrinking away from the viewer and at the same time powerfully meeting the gaze of the person viewing the painting. These paintings include the women from her book and paintings of herself as variou...
Contention (Introduction): At the beginning of the 1950's women faced the expectation that they must become a housewife. Towards the end of the 1960’s, women started to believe that
Georgia O’Keeffe is an artist known for her paints of flowers, skyscrapers, and landscapes from New York. She is recognized as the mother of American modernism. Georgia O’Keeffe has always been a name I remember from my art classes in middle school. We had to talk about a piece of art in class each week and I kept finding myself doing her paintings. The way she uses color and the detail of her flowers is so perfect. The reason I chose to do Georgia O’Keeffe is she is a well-known artist and when think of art, I think of her. I have always thought of Georgia as interesting artist. Not being much of an art guy, something about her paintings makes me interested in her work. I like that she is so simply with her work and she paints very beautiful pieces of work, I’m excited to look more into her work, and get to learn a little more about art. I feel like I hear this quote a lot connected with art, O’Keeffe says many times through out her life “ I found that I could say things with colors and shapes that I couldn’t say in any other way----things I had no words for.”
Mary Mahoney was the first African American women to get a license in nursing. Mary Mahoney was born free of slavery in the spring of 1845 in Boston, Massachusetts. As a child and teen, she was educated in an integrated school and worked at the New England Hospital For Women and Children. In 1878, Mary was admitted into the New England Hospital’s Nursing School and went through the harsh and tough program.
Despite the significant influence that lead to her future career in art, Ringgold reported that she was also impacted by the racism, sexism, and segregation that she had to experience in her everyday life. Positivity and hardships both helped shaped Ringgold’s successful art career in due time.
In 1971, Linda Nochlin issued her article "Why Have There Been No Great Women Artists? This thought of stylish virtuoso, says Nochlin, is fiction. Workmanship is once in a while delivered totally by the craftsman for the possibility of individual expression. Couple of identifiers in contemporary craftsmanship have been as laden as the term women 's activist workmanship. What does it mean, who characterizes it, and how can it identify with the past achievements of the women 's activist development?
This is a misconception because every great artist needs to be nurtured and trained. The fact that we don’t have a great Eskimo artist, as Nochlin points out, is not because there is no talent in the Eskimos, but because talent has not been cultivated. When institutions discriminated on the basis of sex, very talented women were excluded from the celebrated art schools. As such, to answer the question “why have there been no great women artists?” the blame lies squarely with societal institutions and the inequities that they promoted. Women artists were very talented but were not given the necessary support and encouragement that they needed in order to
In an interview, Godfrey states, “My supervisor, who incidentally was a white woman, and I got along very well. We work together as a team and we, more or less, complimented each other” (Hollingsworth, 1988, p. 205). Both women created a pamphlet in 1950 titled, Visual Presentation of Art Education, “the report submitted by the Art Education Service was subsequently illustrated by Miss Mary E. Godfrey, who gives emphasis to the promotion of art education in the Negro schools” (Mary Godfrey Papers, Box 1, Folder 2). This pamphlet described the role of the supervisor of art education, why art education was important, and art as creative experience. The pamphlet explained the purpose, objective and philosophy or art education for all school personnel and children. Art educator Ruth Peck (1958) describes, in the 1950s, role of the art supervisor was to provide in-service art training that would arouse interest in possible effects of art education by developing a solid philosophy, stimulate ideas and establish teaching techniques that would be transmitted into practice in the classroom. (p.6) This was a time when art education was not a place of valuable instruction and considered “the time-honored method…planning pupil art activities by holidays or special events,” it was up to the art supervisor to assistant teachers in selecting and organizing art activities (Hastle, 1954 p. 17). Godfrey was instrumental in developing the concept of art education as a basic approach to school and community living and understanding art as a learning process. She took her position as an assistant art supervisor and educating children seriously. Godfrey
The formal education of women artists in the United States has taken quite a long journey. It wasn’t until the nineteenth century that the workings of a recognized education for these women finally appeared. Two of the most famous and elite schools of art that accepted, and still accept, women pupils are the Philadelphia School of Design for Women and the Pennsylvania Academy of the Fine Arts (the PAFA).
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