Woman Painter Research Articles

L’hommage de Fermel’huis à Élisabeth-Sophie Chéron (1712)

L’ Éloge funèbre de M me Le Hay, connue sous le nom de M lle Chéron, de l’Académie royale de peinture et de sculpture, par M. Fermel’huis, Docteur en médecine de l’Université de Paris et Conseiller honoraire de l’Académie de peinture et de sculpture (The Funerary Elegy for M me Le Hay, known under the name of M lle Chéron, of the Royal Academy of Painting and Sculpture, by M. Fermel’huis, Medical doctor of the University of Paris and Honorary Counselor of the Academy of Painting and Sculpture) is the first academic elegy in France dedicated to a female artist. Originally intended as an official homage pronounced before the assembly of members of the Académie Royale de Peinture et de Sculpture, its lecture was refused by the company using an argument of precedent. Nevertheless, Elisabeth-Sophie Chéron was a woman painter, draughtsman, engraver, poet, translator and a renowned salonnière , introduced into the circles of Parisian collectors and intellectuals. While the discourse was made public the following year in 1712, in the form of a forty page brochure, it remains unknown today. By analyzing the articulation and the concerns of the text, the present article seeks to demonstrate that it reveals the multiple rapports of power. This latter touches on the questions of the place and the image of women in the society of the Ancient Regime as well as that of the competitive context of artistic creation between the 17 th and 18 th centuries. The objective is therefore also to invite epistemological approaches.

Rita Angus: A New Madonna 1942–1951

This article explores the ‘New Madonna’ in Rita Angus’s artwork in the 1940s and early 1950s. The New Madonna combines female independence and celibacy with sexualityand motherhood. She develops from Angus’s position as a woman painter who lived and worked alone, and is expressed in three nudes and a number of goddess portraits which are discussed. The origins of the term ‘New Madonna’ and the interpretative possibilities it affords to Angus’s art are examined. These works allow Angus to inscribe herself with a value derived from being female. In order to offer insight into these portraits, Angus’s letters to the composer Douglas Gordon Lilburn are considered.

«Clara Peeters y sus otras historias»: propuesta de innovación docente para afrontar resistencias y prejuicios en la formación del profesorado del máster de profesorado de educación secundaria y bachillerato.

El presente artículo pretende dar a conocer los resultados obtenidos de proyecto de innovación docente para la formación del profesorado que integra educación y patrimonio cultural. Aprovechando que este otoño de 2016, el Museo Nacional del Prado acogerá la primera muestra de una mujer artista, la pintora flamenca Clara Peeters, planificamos unas jornadas donde el alumnado del Máster Universitario en Profesorado de Educación Secundaria y Bachillerato en la especialidad de Ciencias Sociales de la Universidad de Málaga tendría que diseñar una serie de actividades para alumnado de primero de bachillerato que les acercaran a al conocimiento de temáticas que normalmente forman parte del currículum oculto como el papel de las mujeres en la historia y el arte, otras historias, otras geografías, la pintura de bodegón o la vida cotidiana. En la realización de este proyecto, se aplicaron las siguientes metodologías: aprendizaje-servicio, aprendizaje basado en problemas, aprendizaje por proyectos, aprendizaje cooperativo y aula invertida. Este proyecto supuso una oportunidad para afrontar los prejuicios del alumnado en relación a la visión del máster como mero trámite; sus demandas en relación a la excesiva teorización de las asignaturas; y sus resistencias a aplicar metodologías innovadoras, y el escepticismo a trabajar en grupos; y la utilización del enfoque.

“Co-branding” a Cainü and ­­a Garden: How the Zhao Family Established Identities for Wen Shu (1595–1634) and Their Garden Residence Hanshan

This paper examines two paintings by Wen Shu (1595–1634), each of which was inscribed by her husband who declared that Wen Shu painted what she saw in their garden residence Hanshan. With this claim, the family reinforced the image of “Wen Shu the artist” as a cloistered gentry woman and an amateur painter despite the fact that she painted for financial reasons. At the same time, this claim exalted the existing image of Hanshan. By establishing images for Wen Shu and Hanshan, the family worked together to reaffirm and enhance their social standing. This research contributes to the understanding of how a woman painter and her family utilized, participated in, and derived benefits from the prevalent garden culture of seventeenth-century China.

To the lighthouse revisited: the art economy in Mary Gordon’s Spending

AbstractThis essay explores Virginia Woolf’s legacy to Mary Gordon’s Spending. More than a response to Woolf’s vision of a monetary gift to facilitate woman’s creativity, Gordon’s novel also engages To the Lighthouse in its representation of a woman painter coming to terms with her talent. Equally important, however, is the difference between the two works, as unhappiness about her lost possibilities marks the heroine’s artistic impasse in Woolf’s novel, whereas pleasure over extravagant gifts characterizes the female protagonist’s progress toward success in Gordon’s text. By re-visioning Woolf’s female artist in want in 1910s–1920s England into a woman painter in plenitude in 1990s consumerist America, Gordon’s happiness narrative delineates the possibility opened up by her unhappy predecessor. This article is published as part of a collection on gender studies.

Leontine Littrow, Woman Painter of Late 19th and Early 20th Century

Leontine Littrow, Woman Painter of Late 19th and Early 20th Century

A ‘Lavender Talent’ or ‘The Most Important Woman Painter in Europe’? Reassessing Vanessa Bell

Art HistoryVolume 36, Issue 1 p. 128-153 Original Article A ‘Lavender Talent’ or ‘The Most Important Woman Painter in Europe’? Reassessing Vanessa Bell Grace Brockington, Grace BrockingtonSearch for more papers by this author Grace Brockington, Grace BrockingtonSearch for more papers by this author First published: 17 January 2013 https://doi.org/10.1111/j.1467-8365.2013.00949.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Volume36, Issue1February 2013Pages 128-153 RelatedInformation

“You are no stranger to me”

“You are no stranger to me”

The Woman Painter in Victorian Literature (review)

Reviewed by: The Woman Painter in Victorian Literature June Sturrock (bio) The Woman Painter in Victorian Literature by Antonia Losano; pp. 300. Columbus: Ohio State UP, 2008. $67.50. Antonia Losano approaches her subject—women artists as represented by women novelists—with enthusiasm and vigour. Her arguments are complex, but she repeatedly returns to the idea that "painting always becomes a seduction where women are concerned" (114). Selecting primary texts and illustrations with intelligence, she addresses a wide range of novelists, canonical and otherwise. In the chapters discussing The Tenant of Wildfell Hall and Jane Eyre, Losano is at her best. She shows how Anne Brontë's Helen Graham, as a painter, moves towards "resolutely less self-expressive art" (69), and also explores Helen's financial difficulties in relation to Caroline Norton's struggle and the slow movement toward the Married Women's Property Act of 1870 (the second, more effective, act of 1882 she does not mention). She might have added that Anne Brontë seems less attracted by male power than her sisters, which may help to explain her lesser popularity, a concern for Losano. In her chapter on Jane Eyre, "Ekphrasis and the Art of Courtship," she demonstrates convincingly how in describing Jane's art, Charlotte Brontë insists on Jane's own choices and activity as an artist, reminding us of how Brontë represents Jane first as a viewer and then as a producer of images. Other chapters, however, are seriously weakened by lack of consideration and by various kinds of carelessness. The muted tragedy of Margaret Oliphant's Rose Lake, the young art teacher and designer in Miss Marjoribanks, is a good subject in a discussion of "Making a Living" as an artist, but any analysis of this novel in relation to women's work should at least acknowledge Elizabeth Langland's important discussion in Nobody's Angels. Moreover, though Losano's page numbering in discussing the major revisions concerning Rose clearly refers to the appendix to Elisabeth Jay's fine edition, I find no reference to the edition either in the notes or the works [End Page 161] cited. To move to the novel itself, Oliphant's Carlingford is not, as Losano avers, a cathedral town (136); part of Oliphant's concern in her Chronicles of Carlingford was to create a community that resembled in its claustrophobic narrowness Austen's Highbury rather than Trollope's Barchester. Lucilla, the novel's protagonist, does not mock Rose's clothes (143), though she silently deplores them; to do so would be quite out of character. Such errors (and others like them) weaken Losano's credibility. And I flinched at a reference to Oliphant's "message" (121), for she is far too subtle a writer to deal in "messages." The careless reading evident in Losano's treatment of Charlotte Yonge's The Pillars of the House is more serious still, as it renders much of her argument untenable. The artist in question here is Geraldine (Cherry) Underwood. Losano examines Yonge's contrasting of Cherry and her artist brother, Edgar, a rich topic. A (fictional) critic comments on Edgar's Royal Academy painting "Brynhild" as "the flaming production of a tyro in suspense between the Pre-Raffaelite and the Turneresque, who in the meantime had better study the primary rules of drawing" (Yonge II. 115). Alluding to this comment without providing its context, Losano assumes that it indicates Yonge's distaste for Turner and the Pre-Raphaelites, whereas it actually suggests the inadvisability of mixing the two on one canvas. She goes on to suggest that Yonge faults Edgar for aiming at "high art" rather than "the realm of moral narrative realism" (Losano 206), which is, she argues, Cherry's province. In fact, Yonge continually contrasts Cherry's careful drawing with Edgar's laziness over the basics of his art. Her point is that Cherry is more dedicated as an artist, more professional than her brother, despite his lengthier training. (Losano claims that Cherry has no training [200], but in fact Yonge sends her to "the South Kensington Museum" [2.34] for art lessons.) Another argument based on misreading, and therefore untenable, is the contrast between Cherry and her older sister...

In Other Rooms, Other Wonders by Daniyal Mueenuddin

> H < ^1 ? I ^1 o H H * culminates in a display ofwhimsi cal cruelty against Bob H?p and his "wild boy," who are themselves no innocents. But then, individuals will run out of control once the system in which theyoperate escapes fromthe discipline of truthfulness. The island system also turns out to be immune topolitical influence and individual courage. It is controlled by a many tentacled entertainment industry, which corrupts all who feed on it and knows everything through its unsupervised use of surveillance. Although Barner egjeringen reaches out to earlier dystopian visions, from Brave New World and Lord of theFlies to Super-Cannes, its fast-flowing language, inventive ness, madly up-to-date social satire, and strong moral intent places it firmlywithin a group of contem porary Norwegian works of fiction, which includes Jan Kjaerstad's novel trilogyabout thehard lifeand times of the media-baron/victim Jonas Wergland, and Wonderhoy,Henrik Langeland's eager and knowing fantasy about a hyperactive young turk in the media business confront ing the old and elusive trade of book publishing. These are allwrit erswho mine a particularly fruitful seam of fiction for a weary postcapi talist world. Anna Paterson Aberdeenshire, United Kingdom Daniyal Mueenuddin. In Other Rooms, Other Wonders. New York. W.W. Nor ton. 2009. 247 pages. $23.95. isbn978 0-393-06800-9 In his debut collection of short sto ries, Daniyal Mueenuddin keenly observes the subtleties of power. In each of these stories set in Paki stan, somebody needs something from someone else, as Mueenud din's characters work various forms of influence in pursuit of a desired end. Suggesting the uneasy juxta position of residual feudalism and modernity, Mueenuddin portrays an unequal social hierarchy marked by self-interest and corruption, in which characters depend upon the whim of other people for jobs, a place to live, social approval, and the calculated dispensation of love and sex. Even when a character secures patronage, things often go terribly awry. Harmless and gentle Rezak reports his wife missing and subse quently isabused by thepolice, who suspect that he has sold her into prostitution. With disheartening logic Rezak concludes that "when he lost the girl, their instruments punished him forhaving dared to reach so high, forowning something thatwould excite envy, thatplaced him in theway of beatings and the police. . . .This was how he under stood justice." Such poignant under statement expresses a motif of these stories:weak people suffer in spite of theirbest effortsto improve their lot in life, while thepowerful barely notice, or care, that their actions lead so precipitously to the demise of their subordinates. Always haunting Mueenud din's stories, sometimes glaring, sometimes oblique, is the specter of disappointed hopes and failed ambition. To retain her position, Saleema makes love with a much older household servant. "That was [their] marriage feast,drugged samosas, and she felt sad and worn and frightened."Hope and despair, cooperation and betrayal, tender ness and savage disregard for other human beings mark these stories, as Mueenuddin concisely and skillfully develops a rich social world com prised almost claustrophobically of close but seldom truly intimateper sonal relationships. "Her love affairs had been so plainly mercantile trans actions thatshe hadn't learned tobe H^H coquettish. But the littlehopeful girl in her awoke now." Readers will not see an indictment of social iniq uitywrit large in this collection, but Daniyal Mueenuddin does indeed take the measure of societyby show ing those moments when the fra gility of an individual's existence is made painfully and hopelessly unavoidable. Jim Hannan heMoyne College Maja Novak. The Feline Plague. Maja Visenjak-Limon, tr. Robert Buckeye, foreword. Berkeley, California. North Atlantic (Random House, distr.). 2009. x + 235 pages. $15.95. isbn978-1-55643 The moral of The Feline Plague is announced in the first chapter: "It is impossible to avoid an accident, but itnever comes in theway you have envisaged." The accident is the introductionof infectedcats into Slovenia, which kills not only all the cats but most other animals, includ ing humans, and the disappearance of Slovenia, "so that our language was never spoken again and we were never again spoken about"? not quite as disastrous as Ice-9 in Kurt Vonnegut's Cat's Cradle, as befits Slovenian modesty. After revealing the ending, the novel doubles back to introduce the main characters, if not ab ovo, then farback in theiruniformly lamen table histories. Ira, named for the goddess of anger, is the chief instru ment of the catastrophe. There is also a failed writer who abets her and thendisappears into thedesert, a pair of interchangeable twinswho alternate days atwork, and a blind woman painter who can read ordi nary text and describe more colors iiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiimiim 68 i World Literature Today HHi ...

The Woman Painter in Victorian Literature, by Antonia Losano

<i>The Woman Painter in Victorian Literature</i>, by Antonia Losano

In Memoriam: Maninging Miclat

Poem in memoriam: Maningning Miclat : an established Pilipino woman painter and poet, born in Beijing in 1972, committed suicide in Manila in 2000.

Medea at the Fin de Siècle : Revisionist Uses of Classical Myth in Mona Caird's The Daughters of Danaus

Myth is that is not over/' Catherine Cl?ment asserts in The Newly Born Woman, adding that if begin to want their turn at telling this history, if they take the relay from men by putting myths into words ... it will ... be a read differendy (6). The uses that the fn-de-si?clew?tet Mona Caird made of this history read differendy in her artist-novel The Daughter? of Danaus (1894) is the subject of this essay. Many of Caird's writings invoke mythology Christian and Classical as a means of historicizing the social and sexual condition of late Victorian women in relation to earlier patriarchal structures, thereby bringing to light the legacy of their legal, theological, or cultural meta narratives in shaping and constraining contemporary women's lives. Thus in her Preface to The Wing of A^rael (1889) Caird refers to the biblical Azrael as the Angel of Death, of Fate, of Destruction who separates the soul from the body (1: xiii); as her novel about the demise of individual female talent implies, fragmentation and alienation was the prize women had to pay in marriage and the family. In The Pathway of the Gods (1898) Christian martyrdom and grisly visions of the Roman Coliseum serve to problematize the construction and self-representation of the New Woman as victim: the modern woman, Caird suggests, submits to being defined by and contained within mythical paradigms at her peril. One that Wins (1887) interrogates the biblical myth of Lilith ? the other woman, the rebel who defies man-made law ? in the figure of a woman painter, inverting the Madonna-Whore trope by ending the text on

The life and passion of Artemisia1

When reading Susan Vreeland's novel The Passion of Artemisia, we find ourselves in seventeenth century Renaissance Italy and the social life of Artemisia d'Orazio Gentileschi, a woman painter who was raped, tortured by the Inquisition and due to her fine and original paintings, was the first woman painter to become a member of the famous Accademia del Disegno. In sum, she struggled for her personal and artistic liberation long before anyone in Europe had heard about feminism. Moreover, Artemisia is a timely reminder of how sometimes in the past for Europeans, and more specifically for Italians, Art in general and Painting in particular, was an integral part of a form of life not only for artists but for ordinary people as well.

Impressions of difference: the painted canvases of Helen McNicoll

This paper examines the works of Canadian impressionist painter Helen McNicoll (1879–1915), analysing them as creative inventions that mediate the irreducible gap between cultural symbolization and experience. McNicoll was a painter of women and girls, and the essay centres on the difference that gender makes in her canvases. Femininity is not the works' only operative axis of distinction, however. McNicoll's nationality and, most significantly, her deafness, conjoined with gender as constitutive and structurally overlapping elements of her pictorial production. The artist's applications of paint to canvas are visible renderings of an ambiguous relation to symbolization wrought by this conjunction. In this context, McNicoll's choice of pictorial style is especially apposite, and the paper explores the way in which impressionism's ideal of direct correspondence between experience and representation resonated forcibly with the ideologies of femininity and language available to a deaf woman painter at the beginning of the twentieth century.

Impressions of difference: the painted canvases of Helen McNicoll

This paper examines the works of Canadian impressionist painter Helen McNicoll (1879–1915), analysing them as creative inventions that mediate the irreducible gap between cultural symbolization and experience. McNicoll was a painter of women and girls, and the essay centres on the difference that gender makes in her canvases. Femininity is not the works' only operative axis of distinction, however. McNicoll's nationality and, most significantly, her deafness, conjoined with gender as constitutive and structurally overlapping elements of her pictorial production. The artist's applications of paint to canvas are visible renderings of an ambiguous relation to symbolization wrought by this conjunction. In this context, McNicoll's choice of pictorial style is especially apposite, and the paper explores the way in which impressionism's ideal of direct correspondence between experience and representation resonated forcibly with the ideologies of femininity and language available to a deaf woman painter at the beginning of the twentieth century. Kristina Huneault is Associate Professor and Graduate Programme Director in the Department of Art History at Concordia University in Montreal. She is the author of Difficult Subjects: Working Women and Visual Culture, Britain 1880–1914 (Ashgate, 2002), and is currently working on a book that examines visual inscriptions of gender in art by nineteenth‐century Canadian women.

The Materiality of Text and Body in Painting and Darkroom Processes: an investigation through practice

The written component of my research charts the repositioning of a painting practice through the making of three discrete bodies of work. Each is accompanied by a ‘practice text’ based on notes made whilst making the work, the writing of these texts allowed me to discover the theoretical issues in the work, these then generated another layer of writing that discusses historical and theoretical issues in context. Inscriptions is an example of practice-based writing produced during the early stages of the research. At this point I was investigating the historical tradition from which my practice as an abstract painter stemmed. To do this I immersed myself in processes and techniques that originated with the American painter Helen Frankenthaler (b. 1928). Frankenthaler's working methods were marginalized by the canon whose values reflected a gender bias in favour of male creativity. As a woman painter I believed that these ideologies still had the power to determine how I responded to the medium of paint. I therefore applied a ‘deconstructive’ method to practice as an attempt to unearth the remnants of a historical framework that, to some degree, determines how the medium is conceptualized. The work I made was produced out of the tension of bringing together ideas taken from opposing paradigms, modernism and feminism. The modernist ideas were located in the medium itself, whereas feminist ideas taken from psychoanalytic and philosophic theory were accessed in textual form which was, during the process of making, responded to as a medium. Historically, within the critical framework of Expressionism, response to the medium was sexualized in accord with male values and sexuality. However, this problem can be located as part of a far broader discussion within a philosophical and psychoanalytic frame. Here, recent work by feminist thinkers such as Luce Irigaray, Judith Butler, Vicki Kirby, and Elizabeth Grosz provide a sustained inquiry into the sexualization of matter. Their ideas can be productively related to abstract painting which is, at its most basic, the organization of matter.

Aesthetics and gender in American literature: portraits of the woman artist

This study demonstrates how popular women writers used the female visual artist as their alter ego to renegotiate the boundaries between high and low culture. The figure of the professional woman painter allowed women writers to critique the dominant aesthetic and scientific theories that categorized women and an ethnically configured lower class as artistically and intellectually inferior to an elite, male-defined figure of the Romantic artist-as-genius. Illustrated.

:Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonne

One of the most memorable creative personalities of the Baroque age and arguably the most forcefully expressive and influential woman painter in history, the Roman-born Artemisia Gentileschi (1593 1652/3) has become the central figure in the recovery of the history of art produced by women. Applying a rigorous methodology, this profusely illustrated study with interpretative text and catalogue raisonne embeds Gentileschi s pictorially and emotionally compelling pictures within the actual sociocultural contexts in and for which they were created.The interpretive text analyzes key pictures and primary literary evidence to reveal the sweep of Artemisia s oeuvre, chart her travels, define her standing with artists and patrons of the period, investigate the links between her financial situations and the artistic decisions that she made, and assess the validity of proposals regarding her activity as a still-life painter, her access to professional organizations, her level of literacy, and the nature of her subject matter. Exploring the question of the interrelationships among Gentileschi s gender and experiences as a woman, the state of her psyche, and her art, the text also confronts and often challenges the widely embraced feminist interpretation of her pictures. Many of the conclusions in the text are supported by an extensive register of archival documents and by the very core of the study: the first and only catalogue raisonne of Artemisia s autograph works, each of the fifty-seven pictures exhaustively investigated as to basic factual information, condition and color, iconography, history, documentation and dating, existing copies, and bibliography. Catalogues of misattributed and lost paintings complete this comprehensive volume.

A Woman’s Place: The Gendering of Genres in Post‐revolutionary French Painting

The subject of this essay is the painter Angélique Mongez, who was a student of Jacques‐Louis David. Specifically, this essay examines how Mongez negotiated a place in the all‐male domain of history painting and how her contemporaries, that is the critics, responded to her claims to be a history painter. My discussion centres on the Salon of 1802, when she made her debut with a large historical composition, Astyanax taken from his Mother, but extends to the Salons of 1804 and 1806, when the issue of the woman history painter was debated more fully. Mongez’s challenge of the tradition that considered history painting an endeavour reserved for men was possible because she had access to serious instruction and to the Salons, unencumbered by the restrictive policies of the Royal Academy. For in the post‐revolutionary period one could not exclude women from history painting because any outright proscription was in conflict with democratic principles. The strategy, then, adopted by those who argued against women history painters during this period, was to encourage women artists who restricted themselves to genre painting. At the Salons of 1804 and 1806 the genre painter Henriette Lorimier served as the paradigm of the woman painter and the recommended alternative to Angélique Mongez.