Chadwick, Chapters 2
Jacob Burckhardt, the foremost European Renaissance historian of his day, asserted unequivocally in The Civilization of the Renaissance in Italy (1860) that: “To understand the higher forms of social intercourse in this period, we must keep before our minds the fact that women stood on a footing of perfect equality with men.”
- Gender equality can fully unleash human potential and promote social development, but in the society at that time, the social status of men and women was not equal, and women were not free in artistic creation.
The few works that remain indicate that while convent life still made it possible for some women to paint, Church reform and the isolation of most convents from the major cities in which the guilds were assuming control over artistic production meant more insularity for religious women. It is to the cities and their guilds that we must look.
- Women's artistic creation was restricted, and only in convents could women paintings be found. However, this still could not stop women's passion for artistic creation.
Chadwick, Chapters 3
The history of women’s contributions to visual culture does not necessarily fit neatly into categories produced by and around men’s activities, and accepting the concept of the Renaissance as a frame carries with it inherent risks for a feminist history. There is, on the one hand, a danger of rewriting women’s production in ways that “fit them into” preexisting categories; and on the other, the risk of trivializing women’s achievements by seeing them through the lens of sexual difference.
- During the Renaissance, women’s achievements were belittled and denied to prevent them from achieving greater things than men, but women were still able to rise.
Their achievements were cited as evidence of what a woman could do, but male writers often followed Boccaccio’s example and asserted that famous women were miraculously endowed with the qualities that enabled them to succeed and thus could not serve as models for ordinary women.
- Women's achievements were seen as miracles, and men believed that miracles helped women, thus ignoring and devaluing women. They also denied the possibility that ordinary women could achieve success. It's possible that at the time, women's achievements frightened men.
Guerrilla Girls
This separated her from less monied artist sisters, who had little choice but to take off their clothes to gain access to the "master" painters of the time.
- Women artists of higher social status and wealth find it easier to create and achieve success than other female artists. They can be freer and more relaxed.
During the decade they spent together, she helped him with some of his most important commissions and created most of her own best work. Their sculpture expressed an overt sexuality that became Auguste's claim to fame in the history of modernism. But that same eroticism in the work of a woman was shocking and indecent. Camille lost commissions because of it.
- There was a serious inequality between men and women in artistic creation. The same creative style produced two completely different results. Men achieved success, while women were criticized. This shows the difficulties faced by Women artists in their artistic creation at that time.
POST 3 - Middle Ages and Renaissance
In the Middle Ages, women were generally considered to be appendages of men, both within the family and in society. Their primary role was to be wives and mothers, raising children according to traditional family values. Despite facing many difficulties, women's consciousness began to awaken during the Renaissance, and some women stood out in medieval Europe and became outstanding scholars, writers and artists.
Lavinia Fontana, Consecration to the Virgin, 1599
Quotes 1
Fontana’s early self-portraits, and the small panels intended as private devotional pieces, combine the influence of her father with the naturalism of the late Raphael and the elegance of Correggio and Parmigianino.
It balances a sense of monumentality and decorum with a naturalism close to that of the Cremonese school, and was influenced by Anguissola, whose work Fontana knew and admired and who no doubt provided an important artistic model for her.
The works of women artists are influenced by the surrounding environment and people. They learn the artistic styles of others, then find a balance between them and form their own style.
Elisabetta Sirani, Portrait of Anna Maria Ranuzzi as Charity, 1665
Quotes 2
Lively touches of red and blue illuminate the overall color scheme of grays, lilacs, and browns and set off the rich purples in garments and background which envelop the figures. Despite the virtuoso brushwork and richness, the emphasis in the work is on Ranuzzi’s maternity rather than her social rank.
Women artists can better understand the hearts of women, and when painting portraits of women, they will give priority to women's brilliance and personal shining points.
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