10/1
“Court appointments exempted women from guild regulation during the Renaissance and they provided women artists with an important alternative to academies and other institutions which increasingly restricted or prohibited their participation. As gentlewomen and painters, women’s social and professional lives were elided; their presence at court both affirmed the breadth of court patronage and ensured that educated and skilled women were available as teachers and attendants”.
The quote above shows how women artists in the Renaissance had greater freedom thanks to court jobs. Women were accepted in the courts, but they were excluded from art schools and guilds. Women who were at court were able to showcase their artistic skills and high status. This allowed them to continue earning money and respect during a period when many doors were shut for them. Working at court gave women a way to become professional artists.
“The Protestantism of Dutch art eliminated the Blessed Virgin as a female model, while the lack of a strong Neoplatonic movement in the North prevented the identification of female form with ideal beauty in painting. Instead, the imagery of the home assumed a central place in Dutch iconography—as a microcosm of the properly governed commonwealth and as emblematic of education and the domestication of the senses. The well-ordered household, a condition for an orderly society, consisted of the family, their servants and belongings. Within the home, the primary emblem of the domestic virtue that ensured the smooth running of society was the image of a woman engaged in needlework, sewing, embroidery or lacemaking”.
The quote shows how Dutch art was shaped by culture and religion. Dutch painters valued the home and family over religious or idealized beauty. A woman working with needlework symbolized a righteous and peaceable society. It showed how women's responsibilities were linked to keeping order in the home and outside the home. They stopped using Virgin Mary as the perfect women in their art but same time didnt want to show women as symboles of the ideal beauty.
Ch.5 Quotes
“As long as the woman artist presented a self-image emphasizing beauty, gracefulness, and modesty, and as long as her paintings appeared to confirm this construction, she could, albeit with difficulty, negotiate a role for herself in the world of public art”.
This quote shows how women artists were super limited by expectations. For them to be accepted, they had to fit the society's norm or idea of a woman, both in how they behaved and how they painted. Which even after doing all that, gaining recognition in the art world was a challenge.
“In England, as in France, painters had to negotiate between aristocratic and middle-class taste, and between amateur and professional classifications. Although there was a strong amateur tradition for both sexes, women continually found their artistic activities equated with their femininity. For women aspiring to history painting and Academy membership, “unnatural” ambition had to be mediated by strict conformity to the social ideology of femininity”.
This quote kindve piggy back rides the first one. It explains how women artists were judged more harshly than men. Even when they had talent and wanted to be professionals, their work was often dismissed as a hobby. For them to succeed in serious art, they had to carefully follow society's rules about how a woman should act. This shows how hard it was for women to get into the highest levels of the art world without being critcized.
Guerrilla Girls- Quotes
“The 19th century saw the war to abolish slavery in the U.S. and the beginning of women's long struggle for equality. At the same time, male painters began to obsess over and objectify the naked female body as never before. Consider how many prostitutes and mistresses they painted , and how tew suttragettes.Women who became artists-like Mary Cassatt, Rosa Bonheur and Edmonia Lewis-had to fight to be taken serously. They were succes: stories, managing to live as they chose (often by traveling as far from • home as they could). But the era abounds in horror stories, too, like Camille Claudel's”.
This quote shows the double standards women faced in the 19th century. Women were fighting equality, male artists continued to portray them mainly as sexual objects. A few women who became respected artists had to push against society norms at the time, leaving their homes and countries. Some like Mary Cassatt became a well known but a lot of others like Camille Claudel were treated unfair and even suffered.
POST 4 - 17th and 18th Century - Subject
The quote above shows how women artists in the Renaissance had greater freedom thanks to court jobs. Women were accepted in the courts, but they were excluded from art schools and guilds. Women who were at court were able to showcase their artistic skills and high status. This allowed them to continue earning money and respect during a period when many doors were shut for them. Working at court gave women a way to become professional artists.
“The Protestantism of Dutch art eliminated the Blessed Virgin as a female model, while the lack of a strong Neoplatonic movement in the North prevented the identification of female form with ideal beauty in painting. Instead, the imagery of the home assumed a central place in Dutch iconography—as a microcosm of the properly governed commonwealth and as emblematic of education and the domestication of the senses. The well-ordered household, a condition for an orderly society, consisted of the family, their servants and belongings. Within the home, the primary emblem of the domestic virtue that ensured the smooth running of society was the image of a woman engaged in needlework, sewing, embroidery or lacemaking”.
The quote shows how Dutch art was shaped by culture and religion. Dutch painters valued the home and family over religious or idealized beauty. A woman working with needlework symbolized a righteous and peaceable society. It showed how women's responsibilities were linked to keeping order in the home and outside the home. They stopped using Virgin Mary as the perfect women in their art but same time didnt want to show women as symboles of the ideal beauty.
Ch.5 Quotes
“As long as the woman artist presented a self-image emphasizing beauty, gracefulness, and modesty, and as long as her paintings appeared to confirm this construction, she could, albeit with difficulty, negotiate a role for herself in the world of public art”.
This quote shows how women artists were super limited by expectations. For them to be accepted, they had to fit the society's norm or idea of a woman, both in how they behaved and how they painted. Which even after doing all that, gaining recognition in the art world was a challenge.
“In England, as in France, painters had to negotiate between aristocratic and middle-class taste, and between amateur and professional classifications. Although there was a strong amateur tradition for both sexes, women continually found their artistic activities equated with their femininity. For women aspiring to history painting and Academy membership, “unnatural” ambition had to be mediated by strict conformity to the social ideology of femininity”.
This quote kindve piggy back rides the first one. It explains how women artists were judged more harshly than men. Even when they had talent and wanted to be professionals, their work was often dismissed as a hobby. For them to succeed in serious art, they had to carefully follow society's rules about how a woman should act. This shows how hard it was for women to get into the highest levels of the art world without being critcized.
Guerrilla Girls- Quotes
“The 19th century saw the war to abolish slavery in the U.S. and the beginning of women's long struggle for equality. At the same time, male painters began to obsess over and objectify the naked female body as never before. Consider how many prostitutes and mistresses they painted , and how tew suttragettes.Women who became artists-like Mary Cassatt, Rosa Bonheur and Edmonia Lewis-had to fight to be taken serously. They were succes: stories, managing to live as they chose (often by traveling as far from • home as they could). But the era abounds in horror stories, too, like Camille Claudel's”.
This quote shows the double standards women faced in the 19th century. Women were fighting equality, male artists continued to portray them mainly as sexual objects. A few women who became respected artists had to push against society norms at the time, leaving their homes and countries. Some like Mary Cassatt became a well known but a lot of others like Camille Claudel were treated unfair and even suffered.
POST 4 - 17th and 18th Century - Subject
Mary Delaney, Flower Collage, 1774–88
Mary Delany was 70 years old when she began making lifelike paper flower collages on black paper. Although she began her most important work late in life, she impressed both the art world and the scientific community. Especially at a time when women had limited recognition, her talent and creativity earned her a rare praise, even from big male artists like Joshua Reynoalds at the time. He described her work using words like, “perfection and outline, delicacy of cutting, accuracy of shading, harmony, and brilliance of colours”.
Mary Delany was 70 years old when she began making lifelike paper flower collages on black paper. Although she began her most important work late in life, she impressed both the art world and the scientific community. Especially at a time when women had limited recognition, her talent and creativity earned her a rare praise, even from big male artists like Joshua Reynoalds at the time. He described her work using words like, “perfection and outline, delicacy of cutting, accuracy of shading, harmony, and brilliance of colours”.
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