Abstract
This article concerns the role of women artists in the colony at Önningeby in Finland and looks specifically at the position of women married to male artists. The article identifies four roles that these women adopt in order to accommodate their husband’s career: Hilma Westerholm epitomizes the notion of “muse and matriarch”; Elin Danielson is used as a case study for the dynamic and determined woman artist; Eva Topelius-Acke typifies the woman artist who adopts a subservient role in relation to the artist-husband; and Nina Ahlstedt is used to exemplify the more independent or “almost equal” woman artist.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
