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Recommended: Womens role in art
Many individuals had helped advance the Renaissance the belief in humanism. These people were great thinkers and their ideas are still considered achievements today. One of these great thinkers was a woman, to be specific she was the first woman artist, Sofonisba Anguissola. Being the first woman artist, during a time of mainly male artist’s is an achievement in of itself, but her work on self-portraits helped in shaping the renaissance and in advancing the ideal of humanism. Painting since her father sent to her to train under the great painter Bernardino Campi the age of 14. Sofonisba quickly mastered painting techniques, developing such life-like paintings that “they seem to confront nature itself” (Sofonisba Anguissola).
Sofonisba Anguissola quickly rose the ranks and became one of the only, and the best female painters during the Renaissance. Her self-portraits highlighted “the idea of female beauty as an equivalent of art” (Sofonisba Anguissola the “Miracolo di Natura”). Painting like this was vastly different because most humanistic Renaissance paintings sexualized and objectified woman. “Thus the first woman painter to achieve fame and respect did so within a set of constraints that removed her from competing for commissions with her male contemporaries and that effectively placed her within in a critical category of her own.” (Chadwick, 79). Sofonisba’s originality and innovation was further demonstrated when she corresponded with the great painter Michelangelo (Sofonisba Anguissola the “Miracolo di Natura”). Seeking criticism, she sent the great Michelangelo a portrait of a young girl crying. He responded by sending the portrait back and saying “ he would rather have seen the more difficult subject of a crying boy” S...
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.... “It leaves one to wonder if she could accomplish what she had within an established set of restrictions what more she could have produced if those restrictions did not exist.”(Sofonisba Anguissola the “Miracolo di Natura”).
Works Cited
Chadwick, Whitney. Women, Art and Society. 3rd edition. (London: Thames & Hudson, 2002)
Slatkin, Wendy. Women Artists in History From Antiquity to the Present. 4th edition. (New Jersey: Prentice Hall, 2001)
Vasari, Giorgio. The Lives of the Artists. Trans. Julia and Peter Bonadella. (Oxford University Press, 1991)
Garrard, Mary D. Here’s Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist. Renaissance Quarterly, Vol. 47, No. 3 (Autumn, 1994), pp. 556-622
Jacobs, Frederika H. Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola. Renaissance Quarterly, Vol. 47, No. 1. (Spring, 1994), pp.74-101.
RODERICK CONWAY MORRIS, “Artemisia: Her Passion Was Painting Above All Else”, New York Times, Published November 18, 2011
Caterina van Hemessen was born around 1528 around the Flemish city of Antwerp in modern day Belgium. She is the earliest female painter of the Northern Renaissance to have work attributed to her. In the Renaissance era, education and training in art were reserved almost exclusively for men. This idea was reinforced by the types of training aspiring artists were subject to in their early years. Potential artists would be required to move in with and learn from an experience professional from a very young age. Additionally, artists in training would be required to extensively study the nude form of the human body, something which was bel...
The female artist I would like to write my week one journal about is Properzia de' Rossi. De Rossi was born 1490 in Bologna to a notary named Giovanni Rossi. I could not find any information about her mother or her upbringing. De Rossi face addition obstacles pursuing art due to no previous training, unlike her female counterparts whose fathers were artists and guided their hands. Later, she did have the privilege of learning from the Bolognese master engraver and artist Marc Antonio Raimondi, as well as studied at the University of Bologna. Under, Raimondi, De Rossi studied music, painting, poetry, dance, drawing and classical literature. Undecided about how she wanted to express herself through her art, she tried her hand at sculpture
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...
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.
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
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.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Sweet Briar College History of Art Program. Web. The Web. The Web. 27 Feb. 2011. http://www.arthistory.sbc.edu/images/women/papers/stebbinsathena/athena2.html>.
Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)