Women Painters
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Vice as Human, not Gendered
Two examples by Dutch Baroque artist Judith Leyster break from the "woman as Eve" paradigm and place the lieklihood of vice on both sexes.
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Overcoming Obstacles in Late Nineteenth-Century France: Part II, Mary Cassatt
Marry Cassatt's beating the odds of 19th-century patriarchy and offering visual critiques of it in her work.
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Overcoming Obstacles in Late Nineteenth-Century France: Part I, Berthe Morisot
The restrictions of the lives of late nineteenth-century French women and how Berthe Morisot circumvented them.
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Judith as Therapist: Gentileschi's Active Heroine
Artemisia Gentileschi is known for her depiction of the active heroine, as opposed to the passive heroines depicted by her male counterparts. In an age before widespread "girl power," what could have been the impetus behind this break from tradition?
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A Women’s History Month Tribute to Linda Nochlin
An overview of the contributions that Linda Nochlin has made to art historical scholarship.
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Nothing Bad about The Wicked Wife
Review of the Suite University course "The Wicked Wife"
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Beyond the Surface: Labille-Guiard's Celebration of the Mind
Discussion of how Adélaïde Labille-Guiard's Portrait of Madame Adélaïde contrasts with contemporary portraits of women.
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Some Reasons behind the (Self-)Portrait (Part 2)
Part 2 of looking at possible reasons behind (self-)portraiture in late eighteenth-century France. Profiled in this article: Marie-Guillemine LaVille-Leroulx-Benoist and Mlle. Duchosal.
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Some Reasons behind the (Self-)Portrait (Part 1)
Part 1 of looking at possible reasons behind (self-)portraiture in late eighteenth-century France. Profiled in this article: Elisabeth Vigée-Lebrun.
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Special Report: Freedom of Artistic Expression and (Neo-)Conservative Politics Do Not Mix
Art and politics are more closely interwoven than may be initially believed. This article takes a look at censorship of he visual arts and why the outcome of 2 November will affect what we will be "allowed" to view.
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Not Intended for the Public: A Look at Amateur Women Painters
So far, we've studied professional women painters, but what of those artists who never intended to make a career of their work? This article will offer a brief sketch of the amateurs.
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Two Different Views of War: Elizabeth Thompson (a.k.a. Lady Butler) and Anna Lea Merritt
The different ways in which Elizabeth Thompson (later Lady Butler) and her contemporary Anna Lea Merritt represented the subject of war.
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The Question of Rivalry
The issue of (usually invented) "rivalries" between women in the public eye transcends the world of art. Using the so-called rivalry of two popular 18th-century women painters as an example, I will explain why such rivalries come into being.
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Artistic Endeavour versus Decency: Women Art Students and the Male Nude Model in Early Nineteenth-Century Paris
Were women art students in Paris allowed to study from the live nude model before the late nineteenth century? Why was the issue so controversial?
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The Mystery of Aimee Duvivier
Brief sketch of the life and career of Aimée Duvivier, based on existing information.
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For Queen and Country: Elisabeth Vigee-Lebrun’s Portrait of Marie-Antoinette with Her Children
Never a popular figure amongst her subjects, Marie-Antoinette was in need of an image transformation by the mid-1780s. After one failed attempt, the royal government commissioned Elisabeth Vigée-Lebrun to convey the queen as a devoted mother, in the hopes of changing public opinion for the better.
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Rousseau Cast Aside: Women Painters and the Absence of the Bourgeois Ideal
It is documented that women painters of the late eighteenth- and early nineteenth- century Parisian art world rarely represented the ideal of bourgeois motherhood in their oeuvres. Despite public opinion of a woman’s proper “place,” such paintings were approved for exhibition in the (often juried) Salons. Drawing upon historical, economic, and philosophical examples, I will explain two possible reasons for public toleration of this tendency and how it benefited the truly ambitious.
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Jacques-Louis David and the Training of Professional Women Painters
A significant factor in the training of professional women painters of late eighteenth- and early nineteenth-century France, David provided opportunities that many other teachers--male or female--either discouraged or simply did not make available.
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Authorship and the Woman Painter II: Two Case Studies
How the misattributions of the portraits of Charlotte du Val d'Ognes and Dublin-Tornelle exemplify the denial of women's claim to agency in the traditional art historical canon.
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Authorship and the Woman Painter, Part I: General Overview
Since its publication in 1968, Roland Barthes' essay "The Death of the Author" has generated many responses by feminist scholars. Should the issue of the artist's identity be abandoned, or should the traditional status remain as is? This article will examine the general arguments of both camps.
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