The Story of Women and Art, BBC
May 30th, 2014 by maoch
A very good documentary of women and Western art produced by BBC.
Part One:
[youtube]http://youtu.be/hhiliUK8gro[/youtube]
Part Two:
[youtube]http://youtu.be/TESRRxiVkQg[/youtube]
May 30th, 2014 by maoch
A very good documentary of women and Western art produced by BBC.
Part One:
[youtube]http://youtu.be/hhiliUK8gro[/youtube]
Part Two:
[youtube]http://youtu.be/TESRRxiVkQg[/youtube]
Nov 4th, 2009 by sarakateb
Check out K8 Hardy talk about her project for the Tate Modern, FashionFashion; really interesting after Tues. discussion…
She talks about “performance panties,” the body, and her connection to feminism, and basically says “this is not feminism 101, this is my life, my world”
Nov 3rd, 2009 by anniemchale
Discussion Outline for 1960s and 1970s: Art, Civil Rights, and the Women’s Movement
Ann McHale and Melody Ain
I. Introduction: Feminism and Art in the Twentieth Century
a. Summary: Attitudes of women throughout history have come from some of the most celebrated male minds of Western culture. This attitude towards women has continued to shape history and the understanding of gender. The establishment of the female place in art has been a continuous battle. Norma Broude and Mary D. Garrard introduce the rediscovery of Feminist art history to a new generation of women in this crucial book.
b. Discussion Questions:
What is feminist art?
Is all art created by women feminist art?
Are the unconscious themes of women artists “feminist? Is it possible for a woman to create art, and it not to be feminist? Example: LK
II. Feminism Unbound by Nancy Princental
a. Summary: Nancy Princenthal reviews the exhibition “ WACK! Art and the Feminist Revolution”. Since the 1960s when the feminist art movement began to emerge, women have been particularly interested in what makes them different. In this exhibition women go to extreme levels to set themselves apart, all in the name of art. From self mutilation to performance art, women artists take their craft to a new level of self expression. Women artists in this exhibition express the importance of self identity.
b. Discussion Questions:
i. How has the human body become a focus in art? Self mutilation, violence, sexuality….
ii. When does this type of art become to radical? Where is the line drawn?
Is this type art of effective? Who is the audience?
b. List of Images:
i. Caroline Schneemann
1. Interior Scroll
2. 1975
3. New York City ( first performance)
ii. Judy Chicago
1. Red Flag
2. 1971
iii. Judy Chicago
1. The Dinner Party
2. 1979
3. Brooklyn Museum
iv. Anna Gaskell
1. Untitled #35 ( Hide)
2. 1998
Collection of Heather and Tony Podesta, Falls Church, VA
v. Marji Geerlinks
1. Mothers
2. 2000
3. Torch Gallery Amsterdam
vi. Catherine Opie
1. Self Portrait/Nursing
2. 2004
3. Los Angeles
vii. Jenny Sarille
1. Untitled ( Study)
2. 2004
3. New York
Worldwide Women by Eleanor Heartney
Summary: The women’s movement of liberation has explored all areas of the human experience. However, the change in the field of art has lagged far behind in the movement for female liberation. In Eleanor Heartney’s review of “Global Feminism: New Directions in Contemporary Art” she highlights the work of women artists who have made many significant contributions throughout the history of art in this exhibition. She also discusses the problems with the exhibition, and the barriers within the realm of feminism.
Discussion Questions:
i. The experience of women around the world are drastically different. How does this effect their view of feminism?
ii. Why do some feminist artists take on such a aggressive approach to their sexuality?
iii. How do women identify within their culture and race but also as women in their art?
Themes:
Identity
Sexuality
Interpretation of what is Feminism
Violence and Self mutilation in art
Oct 14th, 2009 by melodyain
Abstract Expressionism: The Making of a Heroic Art
OUTLINE FOR DISCUSSION
Oct 1st, 2009 by anniemchale
Ann McHale
October 1, 2009
ARTH 460
Discussion Outline for The Model and The Artist
I. Introduction (Madison)
a. “ Every prominent scholar of nineteenth century art planted himself in front of her, writing paraphernalia at hand. All thought their engagement disinterested, but it wasn’t. They circled her from above, close up, on top. What did they mean to do with all those words? Describe her? Analyze her? Situate her? Or: Posses her? Control her? Silence her?” pg. 15 Alias Olympia
b. Discussion Questions:
i. What were the other authors’ intentions for writing about Victorine Meurent?
ii. What were Lipton’s intentions for researching Victorine Meurent?
II. Alias Olympia (Ann)
a. Summary: In this book Eunice Lipton investigates the life of Vicotrine Meurent. Throughout history Victorine has been portrayed as the bold beautiful model made famous by Manet’s painting Olympia. History remembered Vicotrine as the model who descended into a life alcoholism and prostitution. Lipton sets out on a search to find the truth behind the face that made Edouard Manet famous. Through her research she also incorporates her own narrative about her own personal struggles in life.
b. Discussion Questions:
i. Do you think the images of Victorine Meurent painted by Manet and others were true depictions of her life?
ii. What image did Manet portray of Victorine Meurent versus the image portrayed by Norbert Goeneutte? (Refer to pages 104-108 in Alias Olympia)
iii. What category of model would Victorine Meurent fall into, modèle de profession, modèle à l’occasion, or modèle privilégié?
b. List of Images:
i. Olympia
1. Manet
2. 1863-1865
3. Musée d’Orsay
ii. Madoiselle Victorine in the Costume of an Espada
1. Manet
2. 1862
iii. Dejeuner sur l’herbe (Luncheon on the Grass)
3. Manet
4. 1863
5. Musée d’Orsay
iv. Portrait of Victorine Meurent
1. Manet
2. 1862
3. Museum of Fine Arts, Boston
v. Street Singer
1. Manet
2. 1862
3. Museum of Fine Arts, Boston
vi. Woman with a Parrot
1. Manet
2. 1866
3. Metropolitan Museum of Art
vii. Palm Sunday
1. Victorine-Louise Meurent
2. 1880s?
3. Municipal Museum of Art and History, Colombes
III. Realist Quandaries Article (Amy)
a. Summary: In this article Susan Waller explains the difference between the three types of models: modèles de profession, modèles à l’occasion, and modèles privilégiés. During the 19th century artist began to move away from the traditional model use of professional models to non-professional models. Artist began to use a diverse range of models in their work to gain a more natural element in their works.
b. Discussion Questions:
i. How did Manet influence the shift from modèles de profession to modèles à l’occasion, and modèles privilégiés?
Define: modèles de profession- was paid, posed, and had no say in the work of the artist.
modèles à l’occasion- was usually associates of the artist, family or friends. They were not paid, yet the artist worked with their image are an artists friends or family.
Propriety models – usually commissioned the work. They paid for the artwork and had a say in the work of the artist.
ii. What issues did female models face?
iii. What were the attitudes towards Victorine Meurent? Did her modeling in Manet’s paintings influence the others’ opinions of her?
Examples:
Kate Dickens example of Pre Raphaelite in John Evertt Millais
The middle class women posing in the garden was less fraught than posing in an artist studio though too it could create problems
Sep 30th, 2009 by adoyel
just realized i didn’t include a link to the article in my post…
http://jezebel.com/5370180/kahlo-collect…
Sep 29th, 2009 by Trish
Sep 25th, 2009 by melodyain
My older sister was also an art history major in college and she emailed me this link a couple days ago. I thought you all might like it as well if you haven’t seen it yet – it’s really amazing! I always like when artists use innovative mediums for their art – even something as simple as sand can be taken to a new level. Enjoy!
Sep 24th, 2009 by megblog8
Megan Borders
ARTH 460 – Women in Western Art
Group Members: Sara & Trish
Artemisia Gentileschi
Readings:
Garrard, “Artemisia and Susanna,” FAH
Wittkower and Wittkower, Born Under Saturn (1963), “Agostino Tassi – The Seducer of Artemisia Gentileschi.”
Biblical Narrative – Daniel Chapter 13
Movie:
The Rape of Artemisia
Discussion Outline:
First things first: Take 5-10 minutes to think about, or re-read if necessary, the biblical narrative of Susanna and the Elders. How is Artemisia’s interpretation different than the biblical context? In what ways is it the same?
o A quick review of the biblical narrative to start things off.
o A brief bit of background information about the artist.
*Something to think about during the discussion, which we can bring up again near the end of class: “Do you think Artemisia could have painted this the same, had she not been through this?”
N.B. – Knowing what we know about the date of this painting (1610) and the date of the rape trial (1611), could ongoing harassment prior to the rape have been the artist’s motivating factor of her unique portrayal of Susanna, rather than the rape itself?
Taking a look at Garrard:
o Susanna and the Elders, Pommersfelden, Schloss Weissenstein, Collection Dr. Karl Graf von Schonborn (Brooklyn Museum) 1610, has been attributed to Artemisia Gentileschi
o Differences between Artemisia’s theme of Susanna and the Elders other artists’ of the same subject; briefly compare each side by side:
Artemisia vs. Tintoretto (1555-56)
Artemisia vs. Rubens (1636-40)
Artemisia vs. Rembrandt (1647)
• Artemisia’s choice to ditch the “Venus pose” in favor of a defensive gesture
• Might her interpretation be different because she’s a woman approaching this subject?
o Artemisia’s Susanna figure is more realistic in terms of female body proportion than other male artists depict in their own work during that time. Is this because only women were allowed to view female models? Does the fact that the artist is a woman herself play a part?
o Differences between Artemisia and Orazio’s treatment of a theme
The gestures in Orazio’s David and Goliath vs. those in Artemisia’s Susanna
Artemisia and her father both chose to paint the subject of Judith and her Maidservant, but treat the female figures in their paintings differently. Compare and contrast
• Did experiences in Artemisia’s personal life affect the way she chose to portray her Judith?
*Garrard argues that the date of Artemisia Gentileschi’s Susanna and the Elders is 1610. Given what we know now about the rape trials taking place a year later, what does that tell us? Does it change our opinion about her treatment of the theme?
Wittkower reading:
Artemisia vs. Tassi: p. 163 – “The Artemisia affair had certainly caused a sensation. But Tassi did not care and his patrons did not mind.”
For Artemisia the trial brought shame, dishonor, etc. She has to personally write to patrons, practically begging for work
i. She eventually goes on to have an “honorable” career as a “lascivious and precocious girl,” What do you think Wittkower means by this? (p. 164)
Tassi: “In the years after the scandal he received his greatest commissions,” (p. 164)
i. His reputation does not seem to be damaged at all, as he was described as witty and clever
1. Comparison with Caravaggio as the “bad boy,” which means success for men but not women. Men seemed to get away with everything, including, in this case, rape. Is this still true today?
ii. Tassi eventually even wins back his friendship with Orazio
Further discussion to consider:
Artemisia vs. Vittoria Colonna: both taking matters into their own hands and writing to patrons to get what they want in a society so clearly dominated by men
What would Vasari say about Artemisia? In Properzia de’Rossi’s case, he left out certain instances of her bad behavior, in favor of a more ladylike interpretation of the artist. Would Vasari have skimmed over the details of the rape trial, referring to Artemisia as a “poor raped girl,” or would he have left them out completely? Does everything we know about the rape trial add to what we like or dislike about Artemisia (for example, is one drawn to her work emotionally because they feel sorry for the violated artist behind it?)
o Artists bringing their own personal life experiences into their work
o Susanna and the Elders has been a popular theme in art, but in this case is it of greater significance because of Artemisia’s personal life?
What are the attitudes toward rape today?
For Artemisia, the best option (or perhaps her only acceptable option) would have been to marry Tassi after he raped her. That obviously doesn’t happen today, but do the same issues of shame, reputation and dishonor pertain to rape victims in our society?
Slides of Images:
Artemisia Gentileschi, Susanna and the Elders, 1610, Pommersfelden, Schloss Weissenstein, Collection Dr. Karl Graf von Schonborn (Brooklyn Museum).
Tintoretto, Susanna and the Elders, 1555-56. Vienna, Kunsthistoriches Museum.
Peter Paul Rubens, Susanna and the Elders, 1636- 40. Munich, Alte Pinakothek.
Rembrandt, Susanna and the Elders, 1647. Berlin, Staatliche Museen Preussischer Kulturbesitz.
Roman Sarcophagus, Orestes Slaying Clytemnestra and Aegisthus, detail, Rome, Museo Profano Lateranense.
Orazio Gentileschi, David and Goliath, ca. 1605- 1610. Dublin, National Gallery of Ireland.
Orazio Gentileschi, Judith and Her Maidservant, 1610-12, Hartford, Wadsworth Atheneum.
Artemisia Gentileschi, Judith and Her Maidservant, 1625. The Detroit Institute of Arts.