Female Painters Research Articles

Investigation of Features Influencing on the Artworks of African American Female Artists Between 1960s and 2000s

The rich tapestry of cultural diversity is intricately woven by artists who have traversed various cultural landscapes, often producing distinctive artistic expressions. Among these artists, African American female painters stand out with their unmistakable styles and themes, a testament to their unique narrative. To explore the elements that shape the work of these artists in the United States, an extensive review of literature was conducted, distilling the essence of their creative output. The analysis encompasses personal and societal dimensions, unveiling a tapestry of influences including personal experiences, societal encounters, artistic styles, environmental nuances, technological advancements, sources of inspiration, and collaborative relationships. Through meticulous research and surveying, this investigation identified the paramount features that resonate most profoundly with the artistic vision of eight eminent painters. This study highlights the top three as being most influential in their creative journey. Future research endeavors should focus on conducting a more systematic case study of African American artists in order to provide a comprehensive analysis of their features. This will involve finding primary information and reference materials to make a deeper investigation into the influencing features on Africa American female artists between the 1960s and 2000s.

Self-Portrait as Self-Presentation in the Works of Female Painters of the Turn of the 19th—20th Centuries

The article examines the creativity of women artists, which experienced an upsurge at the turn of the 19th and 20th centuries, associated with the removal of restrictions on their education at the Imperial Academy of Arts and the increasing need for self-realization in art. General tendencies are revealed, which do not concern the subject-technical side of the paintings, but allow us to draw generalizing conclusions about the artists’ thinking: self-determination and correlation of themselves with the creative environment, drawing attention to themselves as individuals. An attempt is made to understand the ways in which women were included in the full-fledged learning process as a group with its own socio-cultural characteristics.The aim of the paper is to analyze the creative approach to self-portraiture of the female artists E.A. Kiseleva, E.K. Luksh-Makovskaya, O.L. Della-Vos-Kardovskaya, who started their professional path under one teacher — I.E. Repin. The relevance of the article lies in the attempt to raise the problem of studying women’s creativity in the creation of self-portraits, identifying its artistic specificity, defining the cultural and aesthetic basis.The article focuses on the prerequisites for the formation of the creative method of female artists, based on the combination of individual and imitative. On the basis of consideration of the gallery of works the author develops a typology of female self-portrait: professional self-portrait, self-portrait-emotion, family self-portrait, self-portrait-image. It is traced how in the work of women-artists various artistic influences in Russia and Western Europe of the turn of the 19th—20th centuries, interpreted by them in their own way.

The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun

The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many female painters who have expressed feminist ideas through their art. This article compares the self-portraits of two portrait painters, Frida Kahlo and Élisabeth Vigée Le Brun, in terms of painting themes, methods, and the representation of women. This study explores how female artists' paintings were influenced by the rise of female consciousness in different periods. The final result concludes that feminist awakening is depicted in female-themed paintings across different social periods by female artists.

Perspektif Rasional Lukisan Abstrak di Era Kontemporer

The accumulated meanings and the noisy visuals are one of the impacts of the contemporary art era on the painting movement in Indonesia. This research aims to analyze the aesthetic tradition of Nunung W.S. The abstract painting movement developed around 1960 to 1970s, since then there are not many records of female painters in Indonesia who use the abstract formalism approach. Qualitative methodology and literature study to analyze the artist's creation process, and described narratively with Feldman's art criticism approach. Nunung's work is always related to the process of interpreting nature in the space where she lives, using color, line, shape and space. Whether the artist's subconscious experience can be used as the basis for ideas in the process of creating abstract paintings is an implication for further research.

Why Were There So Few Female Painters in Silesia during the Baroque Period?

Dlaczego było tak mało malarek na Śląsku w okresie baroku? W dniu 8 marca 2021 roku po raz pierwszy w długoletniej historii Rijksmuseum w Amsterdamie umieszczono w galerii honorowej trzy obrazy stworzone przez kobiety: Judith Jans Leyster, Gesinę Terborch i Rachel Ruysch. Gdyby na podobny krok zdecydowało się Muzeum Narodowe we Wrocławiu – główna instytucja zajmująca się gromadzeniem i eksponowaniem dzieł dawnej sztuki powstałych na Śląsku – to miałoby bardzo poważny problem z jego realizacją. W okresie baroku na Śląsku zawód malarki uprawiały bowiem jedynie trzy kobiety: Anna Elisabeth Willmann, Dorothea Gloger oraz Antonina della Vigna. Co więcej, nie odniosły one znaczącego zawodowego sukcesu, a ich kariery pozostały w zasadzie niespełnione. Spośród około 10 000 obrazów o śląskiej proweniencji z okresu baroku zachowanych do naszych czasów tylko pięć zostało namalowanych przez kobiety. Dlaczego tak mało kobiet zajmowało się zawodowo malarstwem na Śląsku w tym czasie? I dlaczego z tak mizernym rezultatem? Niniejszy artykuł, oparty na wynikach kompleksowych badań malarstwa barokowego na Śląsku, jest próbą odpowiedzi na postawione powyżej fundamentalne pytania.

Liquid gestures: The language of that land

The painterly language arising from the paintings of Helen Frankenthaler finds itself describing gestures that behave ‘in-between’ constructed histories. Historic accumulated gestures by female painters and artists at seminal moments in history point towards spaces in which contemporary artists can speak about how new painting language can be formed, now. Using notions of liquidity from Giorgio Agamben and Luce Irigaray to think of a new painterly terminology. The field of making, the performance and transitive material visualizations of Frankenthaler’s practice makes space for the voices of female painters after her.

On Earth and in My House

On Earth and in My House

Combining Tradition and Modernism in Contemporary Afghan Women Painting

Afghan contemporary women painters relying on the foundations of modernism and the legacy of visual tradition have found a great presence in contemporary art in this country. In this regard, these painters have created artworks in political and social contexts, women's issues, portraiture, inanimate nature, and figures. The question is how Afghan contemporary women's painters have used the rich country's assets in their contemporary painting? And what are their attitudes to this old treasure? This paper provides results using a descriptive-analytical method and using the library and archive resources. First, not only the attitude towards the past and the visual capital of painting, both for men and Afghan contemporary women's painters, are not reactionary, but it is also wealth for their contemporary works; it has been promoted visually. It was also found that the functions of painting in the works of these female painters can be seen in the application of elements such as colour (coordination), golden colour, divergence or use frame failure by plant images, the combination of plant designs, geometric, illumination or divination, and Calligraphy with painting, as well as the combination of naturalist painting with plant designs, as well as combining elements such as Simorgh, Islamic architectural designs, or flowers and chicken with oil paintings. It was also found that two types of socio-political approaches to expressing women's concerns and issues and paying attention to painting to revitalize the heritage of this land have attracted the most attention of the Afghan contemporary women painters.

Le portrait de l'artiste peint par elle-même: Negotiations of the Artist-Muse Binary in George Sand's Elle et lui (1859)

While ideas about the Muse date from antiquity and have evolved over time, the concept of the male artist and his female muse has continually informed how creativity and inspiration are imagined and understood. This prevalent image of artistic creation—which problematizes the position of women as artists—was, however, visibly challenged by the increased number of female painters in nineteenth-century France. The growing presence of women artists on the cultural stage thus poses the question: when the artist is no longer automatically assumed to be male and the muse female, what is the status of the woman artist? In this article, McTurk-Starkie analyzes three key scenes involving mirrors, reflections, and painting in George Sand's Elle et lui (1859) in order to explore how Sand complicates assumed paradigms of the gaze between the painter and the painted figure. The article then examines the impact of the text's final act as one of self-portraiture; the protagonist Thérèse becomes l'artiste peinte par elle-même. By questioning the boundaries between self and other, and subject and object, Sand's Elle et Lui innovatively proposes alternative configurations of the relationship between artist, model, and canvas.

A view of women in painting from the past to the present: the image of women in art and women painters

The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed.

An Analysis of the Cultivating and Development Environment of Chinese and Foreign Female Painters

In the field of art, whether in China or western countries, most outstanding figures are males, while few females. In order to explore the root causes of this phenomenon, starting from the life of well-known Chinese and foreign female painters, and from their growth environment, education level, social and cultural background, this paper discusses the reasons why Chinese and foreign female painters are less than male painters, and analyzes the training environment and influencing factors of Chinese and foreign female painters in detail. The author hopes to analyze the key factors of cultivating female artists, and then put forward effective ways to cultivate female artists.

근대기 재조선 일본인 여성 화가 연구

근대기 재조선 일본인 여성 화가 연구

Les femmes peintres dans les romans et les nouvelles zoliennes : artisanes ou artistes ?

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Aproximaciones a la "inquietante extrañeza" en la pintura contemporánea: una perspectiva de género

En el contexto del arte contemporáneo, cada vez es más frecuente encontrar mujeres artistas nacidas en la segunda mitad del siglo XX que elaboran sus obras desde un lenguaje pictórico construido a través de un esmerado dominio de la técnica y el oficio y que se interesan en representar escenas de una alta tensión narrativa, inquietante y turbadora. En este artículo vamos a partir de tres exposiciones que en torno a estos temas se han organizado a nivel internacional (Nightfall: New tendencies in figurative painting, This side of Paradise y New Black Romanticism) que son un ejemplo más de la escasa representación femenina en este tipo de eventos y que constatan la marginación y el silencio que la historia del arte ha otorgado a la mujer. Como consecuencia de ello, planteamos este artículo desde un posicionamiento crítico feminista que pretende no sólo dar visibilidad a un grupo numeroso de pintoras figurativas sino también reivindicar las diferencias de sus propuestas respecto a las narrativas de los artistas varones incluidos en dichas exposiciones y a los cánones predominantes.

Representation of Women's Image in Iranian Contemporary Painting (A Study Based on Michel Foucault's Concept of Power)

By examining the representation of women in Iranian painting, it is presumable that through Iranian painting history the perspective toward role of women was often passive. This representation is somehow symbolic and idealistic defining stereotypes attributed to women. What is notable is permanency of the idealist and symbolic attitude toward women, while these roles are sometimes far from the personal experiences of women. One major constitution which can form and classify people is community. The society’s Dominant cultures impact on the way identities of individuals reveal in a society. Since the art is intertwined with a society created in, it can be stated that the rise of dominant paradigms on women social and cultural conditions can be reviewed in art and specifically in this study in contemporary art. Therefore, it could claim that governor social power has an effective role for shaping identities in a community. Many theorists presented their insights about power and argued about different shapes and organs of power. Michel Foucault was equally a philosopher a psychologist and a historian. The power concept is central to his thinking regarding the relations between society, individuals, groups and institutions. Foucault had an aim to examine how power operates in daily interactions between people and institutions. This research tries to answer the question that how power relations define woman as human being subjects in Iranian contemporary painting, and what's more, how women resist power applying to their lives, besides how they develop their strategy in their painting? The results of this research which are gained by analytical- descriptive method indicates that female painters unlike male artists, when depicting a woman, do not consider well-known features beauties of a woman, showing their body, hair and lips etc. They avoid pointing out formal feminine features. Instead they focus on inner configuration.

Marisa Roësset, en la frontera (1924-1939)

La misoginia que caracterizó la España del primer tercio del siglo XX y las graves dificultades que las artistas debieron sortear durante esos años definen el contexto en el que se inserta nuestra investigación, cuyo objetivo esencial es analizar la trayectoria artística de Marisa Rosset y Velasco desde que en 1924 se dio a conocer en la Exposición Nacional hasta 1939, fecha en la que concluyó la guerra civil y acabó la etapa esencial de su producción. Durante este período la artista no solo practicó una moderna figuración sino que alcanzó un elevado grado de profesionalización, hechos estos que hicieron de ella una de las pintoras de mayor calidad y más avanzadas de su época y sobre los que este trabajo centra la atención con el propósito de paliar una inmerecida laguna historiográfica.

“Das Bild hat einigen historischen Werth und deshalb wird es vielleicht ausgestellt …“ Zum Ausstellungsdebüt Julie Hagens in München: Das Porträt des Freundes und Mentors Moritz Rugendas

The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order.The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.

“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig

Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.

“A Way of Seeing”: Felrath Hines’s Postwar Paintings

2 Felrath Hines, Missa Solemnis, 1950. Reproduced from Floyd Coleman and Holliday T. Day, Felrath Hines (Indianapolis Museum of Art, 1995), 23. Estate permission courtesy Dorothy C. Fisher, widow of Felrath Hines In the years since his death, (Samuel) Felrath Hines’s large, abstract canvases have garnered much-deserved attention. Scholars and critics hail Hines as a sensitive artist, mentioning his smaller nonrepresentational paintings of the 1940s, and then turning to his best-known work: the carefully calibrated geometric abstractions of luminous color he made beginning in the 1970s (fig. 1). The nearly exclusive focus on his nonobjective painting supports the narrative that Hines was an inevitable abstractionist whose interests furthered and expanded the traditions of De Stijl, color field painting, and op art. Art historians have recovered Hines, endeavoring to fold him into the rising tide of abstract expressionism at mid-century and, in particular, what Irving Sandler termed after the fact, “the triumph of American painting.”1 Hines did live in Manhattan from the 1940s until the early 1970s, and he, an African American, may be productively discussed as part of the “other” New York School that included non-white, female, and gay modernist painters who did not circulate in the Cedar Bar or Studio 35 orbits.2 This essay does not seek to dispute or refute the impulse to add Hines’s abstract painting to the inventory of the New York School. Instead, it focuses on one of the artist’s mid-century figurative works, Missa Solemnis (fig. 2) and situates this canvas, which has since disappeared, within period debates about what, precisely, made a work of art “modern.” Asked, toward the end of his life, what he had been trying to achieve when he began painting nonobjectively, Hines responded: “I always tried to do something that has to do with a way of seeing. I always have had an interest in knowing if people saw what I saw.”3 Rather than regard Missa Solemnis as a run-up to the project of abstract art making, we might consider Hines’s earlier production as a “way of seeing,” too, one he shared with a number of more celebrated figurative expressionists in the years right after World War II.4 American figurative expressionists of the 1930s and 1940s, indebted to the blunt mark making, distorted forms, and the bold colors of post-impressionist European expressionism, were recognized for paintings that were seen as creative, emotional, and deeply personal.5 Today’s dominant histories of “A Way of Seeing”

The Memory of St Julien: Configuring Gas Warfare in Mary Riter Hamilton's Battlefield Art

This essay takes the commemorative work of the Canadian painter Mary Riter Hamilton (1867–1954) as a case study to explore representations of what is often remembered as a key moment of Canadian nation-building: the Second Battle of Ypres and the German chlorine gas attack at St Julien. The essay argues that Hamilton treated the subject of St Julien differently from the official Canadian war artists. By adopting a retrospective, immersive and modernist focus and emphasizing poison gas and concrete, weapons, and materials used for the first time in the ‘Great War’, Hamilton presented a dual depiction of the location and the war more generally, drawing attention to the destructive power of modern warfare even as she offered a humanist and nationalist work of remembrance. As scholarly and cultural discourses reconsider the First World War with the inclusion of women's perspectives [e.g., Palmer, K. 2012. Women War Artists. Imperial War Museum: Tate Publishing; Speck, C. 2004. Painting Ghosts: Australian Women Artists in Wartime. Melbourne: Thames and Hudson], Hamilton's work presents a woman's battlefield perspective that was excised by the war art establishment in Canada. Hamilton would eventually create an extraordinary collection of over 300 war paintings, the largest Canadian First World War art collection from a single painter, in spite of extensive official opposition. Ironically, by adopting a hardline position regarding the presence of female painters on the battlefields, officials of the Canadian War Memorials Fund inadvertently enabled an art practice that operated beyond their control, drawing attention to the forgotten stories and perspectives of war.