Women artists
The examples and perspective in this article may not represent a worldwide view of the subject. (August 2011) |
Part of a series on |
Women in society |
---|
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and experiences, and contributed inspiration to the Feminist art movement.[1][2][3] Although women artists have been involved in the making of art throughout history, their work, when compared to that of their male counterparts, has been often obfuscated, overlooked and undervalued. The Western canon has historically valued men's work over women's[4] and attached gendered stereotypes to certain media, such as textile or fiber arts, to be primarily associated with women.[5]
Women artists have been challenged by a lack of access to artistic education, professional networks, and exhibition opportunities.
Prehistoric era
There are no records of who the artists of the prehistoric eras were, but studies of many early ethnographers and cultural anthropologists indicate that women often were the principal artisans in
Ceramic art
There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures, like that of the Nok culture in Africa over 3,000 years ago.[8] Cultures especially noted for ceramics include the Chinese, Cretan, Greek, Persian, Mayan, Japanese, and Korean cultures, as well as the modern Western cultures. There is evidence that pottery was independently invented in several regions of the world, including East Asia, Sub-Saharan Africa, The Near East, and the Americas. It is unknown who the artisans were.[9][10]
Ancient historical era
African continent
The geometric Imigongo art originated from Rwanda in East Africa, and is associated with the centuries-old sacred status of the cow. It evolved from mixing cow dung with ash and clay and the use of natural dyes. The palette is limited to the bold colour of the earth. The art is traditionally associated with women artists, as is the elaborate art of basket weaving of the area, with its own regular friezes.[11]
India
"For about three thousand years, the women – and only the women – of
Classical Europe and the Middle East
The earliest records of western cultures rarely mention specific individuals, although women are depicted in all of the art and some are shown laboring as artists. Ancient references by
Europe
Medieval period
-
A scene from the Bayeux Tapestry depictingOdo, Bishop of Bayeux, rallying Duke William's troops during the Battle of Hastingsin 1066
-
Self portrait from Hortus deliciarum, c. 1180
-
Hildegard of Bingen, "Universal Man" illumination from Hildegard's Liber Divinorum Operum, 1165
-
Hildegard von Bingen, Motherhood from the Spirit and the Water, 1165, from Liber divinorum operum, Benediktinerinnenabtei Sankt Hildegard, Eibingen (bei Rüdesheim)
Artists from the
There were a number of embroidery workshops in England at the time, particularly at Canterbury and Winchester; Opus Anglicanum or English embroidery was already famous across Europe – a 13th-century papal inventory counted over two hundred pieces. It is presumed that women were almost entirely responsible for this production.
The Bayeux Tapestry
One of the most famous embroideries (it is not a tapestry) of the Medieval period is the
The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque .... Its survival almost intact over nine centuries is little short of miraculous ... Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.[20]
The High Middle Ages
In the 14th century, a royal workshop is documented, based at the Tower of London, and there may have been other earlier arrangements. Manuscript illumination affords us many of the named artists of the Medieval Period including Ende, a 10th-century Spanish nun; Guda, a 12th-century German nun; and Claricia, a 12th-century laywoman in a Bavarian scriptorium. These women, and many more unnamed illuminators, benefited from the nature of convents as the major loci of learning for women in the period and the most tenable option for intellectuals among them.
In many parts of Europe, with the
In Germany, however, under the
The 12th century saw the rise of the city in Europe, along with the rise in trade, travel, and universities. These changes in society also engendered changes in the lives of women. Women were allowed to head their husbands' businesses if they were widowed. The
Meanwhile, Jefimija (1349–1405) a Serbian, noblewoman, widow and orthodox nun became known not only as a poet who wrote a lament for her dead son, Uglješa, but also as a skilled needlewoman and engraver. Her lament for her beloved son which immortalized the sorrow of all mothers mourning their deceased children, was carved on the back of the diptych, (two-panelled icon representing a Virgin and Child) which Teodosije, Bishop of Serres, had presented as a gift to the infant Uglješa at his baptism. The piece of art, already valuable because of the gold, precious stones, and beautiful carving on its wooden panels, became priceless after Jefemija's lament was engraved on its back.[22]
In 15th-century
Renaissance
-
St. Catherine of Bologna (Caterina dei Vigri), (Maria und das Jesuskind mit Frucht), c. 1440s. She is the patroness saint of artists.
-
Caterina van Hemessen, Self-portrait1548
-
Sofonisba Anguissola, Self-Portrait, 1554
-
Esther Inglis, Portrait, 1595
-
Fede Galizia, Judith with the Head of Holofernes, 1596. The figure of Judith is believed to be a self-portrait.
Artists from the
This is the first period in Western history in which a number of secular female artists gained international reputations. The rise in women artists during this period may be attributed to major cultural shifts. One such shift came from the
The most notable of these was
Although many aristocratic women had access to some training in art, though without the benefit of figure drawing from nude male models, most of those women chose marriage over a career in art. This was true, for example, of two of Sofonisba Anguissola's sisters. The women recognized as artists in this period were either nuns or children of painters. Of the few who emerged as Italian artists in the 15th century, those known today are associated with convents. These artists who were nuns include
Nelli's Last Supper
A recently rediscovered fragile 22-foot canvas roll in Florence has turned out to be an outstanding treasure. But for the groundbreaking actions of American philanthropist Jane Fortune (died 2018) and Florence-based author Linda Falcone and their organisation, Advancing Women Artists Foundation, the roll might have gathered more dust.[6] Four years of painstaking restoration by a female led team, reveals the brilliance of the 16th-century, self-taught, suor Plautilla Nelli, a nun, and only Renaissance woman known to have painted the Last Supper.[28][29][30] The work went on exhibition at the Santa Maria Novella Museum in Florence in October 2019.[31] As of early 2020, AWA has sponsored the restoration of 67 works by female artists, unearthed in Florentine collections.[6]
Baroque era
-
Louise Moillon, The Fruit Seller, 1631, Louvre
-
Pacific Palisades, Los Angeles, California
-
Rachel Ruysch, Still-Life with Bouquet of Flowers and Plums, oil on canvas, Royal Museums of Fine Arts of Belgium, Brussels
-
Mary Beale, Self-portrait, c. 1675–1680
-
Élisabeth Sophie Chéron, self-portrait, 1672
-
Josefa de Ayala (Josefa de Óbidos), Still-life, c. 1679, Santarém, Municipal Library
Artists from the
Women artists in this period began to change the way women were depicted in art. Many of the women working as artists in the Baroque era were not able to train from nude models, who were always male, but they were very familiar with the female body. Women such as
Influencers within era
Judith Leyster was the daughter of weavers and the eighth of nine children.[34] She was not born into a traditional artistic family, but her determination to become a painter was supported by her family, and she studied painting between the ages of 11 and 16.[34] During her teens a connection was established between the Leysters and historical painter Frans Peters de Grebber, who came into contact with her parents for the love of their embroidered designed fabrics. Leyster worked as his apprentice for years before opening her own studio.[34] She eventually became the first woman to join the Harleem Guild.[35] Her work showed vigorous and exuberant techniques not seen in many female artists at the time, and was seen as masculine, like that of Artemisia Gentileschi.[36] After her death, Leyster's work was overlooked by many for more than two centuries before she was introduced into historical studies.[34]
18th century
-
Elisabeth Vigee-Le Brun (1755–1842), Self-portrait, c. 1780s, one of many she painted for sale
-
Rosalba Carriera (1675–1757), Self-portrait, 1715
-
Ulrika Pasch, Self portrait, c. 1770
-
Anne Vallayer-Coster, Attributes of Music, 1770
-
Anna Dorothea Therbusch, Self-portrait, 1777
-
Angelica Kauffman, Literature and Painting, 1782, Kenwood House
-
Marie-Gabrielle Capet, Self-portrait, 1783
-
Anna Rajecka, Portrait of Ignacy Potocki, 1784
-
Adélaïde Labille-Guiard, Self-portrait with two pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond 1785, Metropolitan Museum of Art
-
Marguerite Gérard, First steps, oil on canvas, 45.5 x 55 cm, c. 1788
Artists from this period include,
In many countries of Europe, the Academies were the arbiters of style. The Academies also were responsible for training artists, exhibiting artwork, and, inadvertently or not, promoting the sale of art. Most Academies were not open to women. In France, for example, the powerful Academy in Paris had 450 members between the 17th century and the French Revolution, and only fifteen were women. Of those, most were daughters or wives of members. In the late 18th century, the French Academy resolved not to admit any women at all. The pinnacle of painting during the period was
In England, two women, Angelica Kauffman and Mary Moser, were founding members of the Royal Academy of Arts in London in 1768. Kauffmann helped Maria Cosway enter the Academy. Although Cosway went on to gain success as a painter of mythological scenes, both women remained in a somewhat ambivalent position at the Royal Academy, as evidenced by the group portrait of The Academicians of the Royal Academy by Johan Zoffany now in The Royal Collection. In it, only the men of the Academy are assembled in a large artist studio, together with nude male models. For reasons of decorum given the nude models, the two women are not shown as present, but as portraits on the wall instead.[37] The emphasis in Academic art on studies of the nude during training remained a considerable barrier for women studying art until the 20th century, both in terms of actual access to the classes and in terms of family and social attitudes to middle-class women becoming artists. After these three, no woman became a full member of the Academy until Laura Knight in 1936, and women were not admitted to the Academy's schools until 1861. By the late 18th century, there were important steps forward for artists who were women. In Paris, the Salon, the exhibition of work founded by the Academy, became open to non-Academic painters in 1791, allowing women to showcase their work in the prestigious annual exhibition. Additionally, women were more frequently being accepted as students by famous artists such as Jacques-Louis David and Jean-Baptiste Greuze.
19th century
Painters
Women artists of the early part of the 19th century include
In the second half of the century,
Impressionist painters
Rosa Bonheur was the best-known female artist of her time, internationally renowned for her paintings of animals.[39] Elizabeth Thompson (Lady Butler), perhaps inspired by her life-classes of armoured figures at the Government School, was one of the first women to become famous for large history paintings, specializing in scenes of military action, usually with many horses, most famously Scotland Forever!, showing a cavalry charge at Waterloo.
In 1894,
-
Marie Ellenrieder, Self-portrait as a Painter, 1819
-
Mary Cassatt, Tea, 1880, oil on canvas, 25½ × 36¼ in., Museum of Fine Arts, Boston
-
Maria Bashkirtseva, In the Studio, 1881, oil on canvas, 74 × 60.6 in, DniproState Art Museum
-
Suzanne Valadon, Self-portrait, 1883
-
American Art Museum
-
Jeanna Bauck, The Danish Artist Bertha Wegmann Painting a Portrait, late 19th century
-
Anna Bilińska-Bohdanowicz, A Negress, 1884, Warsaw National Museum
-
National Museum, Kraków
Sculpture
Before the 19th century began, an exceptional independent business woman emerged in
Eleanor Coade developed her own talent as a modeller, exhibiting around 30 sculptures on classical themes at the
. The statue was made in separate parts and sealed together on an iron frame.The century produced its women sculptors in the East, Seiyodo Bunshojo (1764–1838) a Japanese
Photography
In France, the birthplace of the medium, there was only
Female education in the 19th century
During the century, access to academies and formal art training expanded more for women in Europe and North America. The British Government School of Design, which later became the Royal College of Art, admitted women from its founding in 1837, but only into a "Female School" which was treated somewhat differently, with "life"- classes consisting for several years of drawing a man wearing a suit of armour.
The Royal Academy Schools finally admitted women beginning in 1861, but students drew initially only draped models. However, other schools in London, including the
English women painters from the early 19th century who exhibited at the Royal Academy of Art
- Sophie Gengembre Anderson
- Mary Baker
- Ann Charlotte Bartholomew
- Maria Bell
- Barbara Bodichon
- Joanna Mary Boyce
- Margaret Sarah Carpenter
- Fanny Corbaux
- Rosa Corder
- Mary Ellen Edwards
- Harriet Gouldsmith
- Mary Harrison
- Jane Benham Hay
- Anna Mary Howitt
- Mary Moser
- Martha Darley Mutrie
- Ann Mary Newton
- Emily Mary Osborn
- Kate Perugini
- Louise Rayner
- Ellen Sharples
- Rolinda Sharples
- Rebecca Solomon
- Elizabeth Emma Soyer
- Isabelle de Steiger
- Henrietta Ward
20th century
-
Zinaida Serebriakova, Nude, 1911
-
Hilma af Klint, Svanen (The Swan), No. 17, Group IX, Series SUW, October 1914 – March 1915. This abstract work was never exhibited during af Klint's lifetime.
-
Florine Stettheimer, Heat, c. 1919, Brooklyn Museum
-
Georgia O'Keeffe, Blue and Green Music, 1921, oil on canvas
-
Aleksandra Ekster, Costume design for Romeo and Juliette, 1921, M.T. Abraham Foundation
-
Gwen John, The Convalescent (ca. 1923–24), one of ten versions of this composition
-
Alina Szapocznikow, Grands Ventres, 1968, Kröller-Müller Museum
-
Odette Sculpture Park Windsor, Ontario
-
Thames, London
Notable women artists from this period include:
Hilma af Klint (1862–1944) was a pioneer abstract painter, working long before her abstract expressionist male counterparts. She was Swedish and regularly exhibited her paintings dealing with realism, but the abstract works were not shown until 20 years after her death, at her request. She considered herself to be a spiritualist and mystic.[54]
Margaret Macdonald Mackintosh (1865–1933) was a Scottish artist whose works helped define the "Glasgow Style" of the 1890s and early 20th century. She often collaborated with her husband, the architect and designer Charles Rennie Mackintosh, in works that had influence in Europe. She exhibited with Mackintosh at the 1900 Vienna Secession, where her work is thought to have had an influence on the Secessionists such as Gustav Klimt.[55]
In the
Among East and Central European women artists, the following are noteworthy: Milein Cosman (1921–2017), Marie-Louise von Motesiczky (1906–1996), Else Meidner (1901–1987), Sanja Iveković (born 1949), Orshi Drozdik (born 1946)
Women photographers
Theatrical designers
Women graphic artists and illustrators, like the rare female
Multi-Media
Mary Carroll Nelson founded the Society of Layerists in Multi-Media (SLMM), whose artist members follow in the tradition of Emil Bisttram and the Transcendental Painting Group, as well as Morris Graves of the Pacific Northwest Visionary Art School. In the 1970s, Judy Chicago created The Dinner Party, a very important work of feminist art. Helen Frankenthaler was an Abstract Expressionist painter and she was influenced by Jackson Pollock. Lee Krasner was also an Abstract Expressionist artist and married to Pollock and a student of Hans Hofmann. Elaine de Kooning was a student and later the wife of Willem de Kooning, she was an abstract figurative painter. Anne Ryan was a collagist. Jane Frank, also a student of Hans Hofmann, worked with mixed media on canvas. In Canada, Marcelle Ferron was an exponent of automatism.
From the 1960s on,
Textiles
Women's textiles was previously relegated to The Private sphere and associated with domesticity rather than being recognised as art. There was previously a requirement of art to demonstrate'artist-genius' which was associated with masculinity; where textiles was seen as functional it was not considered art.[70] This led to women avoiding techniques which were associated with femininity, from textiles to the use of delicate lines or certain 'feminine' colours because they did not want to be called feminine artists.[71] However, in more recent years this has been challenged and textiles has been used to create art which is representative of female experiences and struggles. Parker's 'The Subversive Stitch' demonstrates feminists subverting embroidery to make feminist statements and challenge the idea that textiles should only be associate with domesticity and femininity.[72] Michna finds that challenging artistic practices which exclude women exposes the politics and gender bias of traditional art and helps to breakdown class-based and patriarchal divisions.[73] These traditionally female forms of expression are now used to empower women; develop knowledge and reclaim traditional women's skills which society had previously devalued.[74]
Also see Craftivism.
Ceramics
The re-emergence in the late 19th-century of the creation of ceramic art objects in
Leading trends in British studio pottery in the 20th century are represented by both men and women: Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Leach (1887–1979) established a style of pottery, the ethical pot, strongly influenced by Chinese, Korean, Japanese and medieval English forms. His style dominated British studio pottery in the mid-20th century. Leach's influence was disseminated in particular by his A Potter's Book[75] and the apprentice system he ran at his pottery in St Ives, Cornwall.
Other ceramic artists exerted an influence through their positions in art schools.
Since the 1960s, a new generation of potters, influenced by the
As in Britain, pottery was integral to the
.Meanwhile, in the reducing primeval forests of the
-
Batwa women with traditional pottery
-
Vase thrown by Lucie Rie
-
Hand-Built pot by Elizabeth Fritsch
-
Magdalene Odundo's thrown burnished pot
Contemporary artists
In 1993,
During 2010–2011,
Another genre of women's art is women's environmental art. As of December 2013, the
-
Cytadela
-
Yayoi Kusama, Ascension of Polkadots on the Trees at the Singapore Biennale, 2006
-
Shirazeh Houshiary, East window St Martin-in-the-Fields, London
-
Marina Abramović performing in The Artist is Present at the Museum of Modern Art, May 2010
-
Bettina Heinen-Ayech (1937–2020): Summer thunderstorm in Algeria in 1974
Misrepresentation in art history
Women artists have often been mis-characterized in historical accounts, both intentionally and unintentionally; such misrepresentations have often been dictated by the socio-political mores of the given era and the male domination of the art world.[88] There are a number of issues that lie behind this, including:
- Scarcity of biographical information
- Anonymity – Women artists were often most active in artistic expressions that were not typically signed. During the Early Medieval period, manuscript illumination was a pursuit of monks and nuns alike.[89]
- Painters' Guilds – In the Medieval and Renaissance periods, many women worked in the workshop system. These women worked under the auspices of a male workshop head, very often the artist's father. Until the twelfth century there is no record of a workshop headed by a woman, when a widow would be allowed to assume her husband's former position.[90] Often guild rules forbade women from attaining the various ranks leading to master,[91][92]so they remained "unofficial" in their status.
- Naming Conventions – the Jane Schenthal at birth – Jane "Frank" did not exist until over twenty years later.[93]Examples like this create a discontinuity of identity for women artists.
- Mistaken identity and incorrect attribution – In the eighteenth and nineteenth centuries, work by women was often reassigned. Some unscrupulous dealers even went so far as to alter signatures, as in the case of some paintings by Girodet. Villers' most famous painting, Young Woman Drawing, (1801) is displayed in the Metropolitan Museum of Art. The painting was attributed to Jacques-Louis Davidat one time, but was later realized to be Villers' work.
An additional reason behind the reluctance to accept female artists is that their skills are likely to differ from males, as a result of their experience and situation and as such this creates a sense of greatness for female art which was feared.[97]
However, whilst there has been a misrepresentation of female artists there is a much deeper problem that has limited the number of female artists. There are no female comparisons to the works of Divinci and Michelangelo. This is not due to lack of skill but the oppression and discouragement of women. The fault lies within education and the lack of opportunities that were given. It is against the odds that women have managed to achieve artistic skills in the face of the patriarchal and male-dominated art world.[98]
Women in Outsider art
The concept of outsider art arose in the 20th-century when mainstream practitioners, collectors and critics began to consider the artistic expression of people without a conventional training. Among them would be, the self-taught, children, folk artists from around the world and inmates of mental institutions. Among the first to study this huge and mainly uncharted art space were members of the
- Holly Farrell, 21st century Canadian self taught artist whose paintings include the Barbie & Ken series, is considered an Outsider artist.[99]
- Madge Gill (1882–1961) was an English mediumistic artist who made thousands of drawings "guided" by a spirit she called "Myrninerest" (my inner rest).
- Annie Hooper (1897–1986), a sculptor of visionary religious art from Buxton, North Carolina, who created nearly 5,000 sculptures depicting biblical scenes. Her work is now in the permanent collection of North Carolina State University.
- Georgiana Houghton (1814–1884), a British spiritualist medium, known for her visionary 'spirit drawings', consisting of intricate abstract watercolours.
- Mollie Jenson (1890–1973) created a series of large-scale concrete sculptures embellished with tile mosaics in River Falls, Wisconsin.
- autistic savantwho has methodically created an entire analogous world through extraordinary drawings using pen, graphite, coloured pencil, crayon and ink. She drew prolifically through to the early 1990s and then without reason suddenly stopped. King renewed drawing in 2008 during filming of a documentary on her artwork.
- Halina Korn (1902–1978) was a Pole of Jewish descent who settled in London during World War II. She was originally a writer who married the artist, Marek Żuławski, and took up sculpture and painting in mid-life. She painted the everyday and exhibited in England, Scotland, the US and Poland.[100]
- Maud Lewis (1903–1970) was a Canadian folk artist. Lewis painted bright scenes of rural Nova Scotian life on found objects, including boards, construction materials, etc.
- Helen Martins (1897–1976) transformed the house she inherited from her parents in Nieu-Bethesda, South Africa, into a fantastical environment decorated with crushed glass and cement sculptures. The house is known as The Owl House.
- Grandma Moses (1860–1961), widely considered to be a painter of Folk art.
- Judith Scott (1943–2005) was born deaf and with Down syndrome. After being institutionalized for 35 years she attended Creative Growth Art Center (a center for artists with disabilities in Oakland, California) and went on to become an internationally renowned fiber art sculptor.
- Anna Zemánková (1908–1986) was a self-taught Czech painter, draftsman and pastel artist. Her work was featured in a group show at London's Hayward Gallery in 1979, and eighteen of her pieces were shown at the Venice Biennale in 2013.[101]
See also
- Advancing Women Artists Foundation
- Women in Animation
- Lists of women artists
- List of 20th-century women artists
- List of 21st-century women artists
- List of female sculptors
- Australian feminist art timeline
- List of Australian women artists
- National Gallery of Australia Know My Name
- Beaver Hall Group
- Bonn Women's Museum
- Female comics creators
- Guerrilla Girls On Tour
- National Museum of Women in the Arts
- Native American women in the arts
- Women Environmental Artists Directory
- Women in photography
- Women's International Art Club
- Women surrealists
- Women's Studio Workshop
- The Story of Women and Art, 2014 television documentary
Notes
- ^ Nochlin, Linda (30 May 2015). "From 1971: Why Have There Been No Great Women Artists?". ARTnews.com. Retrieved 25 November 2022.
- ^ de Kooning, Elaine; Strider, Marjorie (2 June 2015). "From 1971: Eight Artists Reply: Why Have There Been No Great Women Artists?". ARTnews.com. Retrieved 25 November 2022.
- ^ Caldwell, Ellen C. (17 March 2018). "Linda Nochlin on "Why Have There Been No Great Women Artists"". JSTOR Daily. Retrieved 25 November 2022.
- )
- ^ Aktins, Robert. "Feminist art." Museum of Contemporary Art, Los Angeles. 1997 (retrieved 23 Aug 2011)
- ^ a b c d e f g h Spence, Rachel (29 March 2020). "Women step into the light". FTWeekend - Arts: 11.
- ^ "Were the First Artists Mostly Women?" "National Geographic", October 9, 2013
- ^ Breunig, Peter. 2014. Nok: African Sculpture in Archaeological Context: p. 21.
- ISBN 978-0-8122-3554-8.
- ^ ISBN 978-0-8019-7982-8.
- ^ Denisyuk, Yulia (9 July 2019). "From the ashes, Rwanda's traditional imigongo art is on the rise". Afar.
- ^ Vequaud, Ives, Women Painters of Mithila, Thames and Hudson, Ltd., London, 1977 p. 9
- ^ Women in Art retrieved January 18, 2010
- ^ The Ancient Library Archived 2010-10-26 at the Wayback Machine Retrieved January 18, 2010
- ^ Stokstad; Oppenheimer; Addiss, p. 134
- ^ Summers, p. 41
- Ptolemy Hephaestion New History (codex 190) Bibliotheca Photius
- S2CID 163499605.
- ^ Fig. 37 Retrieved June 16, 2010
- )
- ^ Upplands runinskrifter 1, s. 307 ff.
- ISBN 9789540715957.
- ISBN 88-7743-080-X.
- ^ Syson, Luke (2001). Objects of Virtue: Art in Renaissance Italy. Getty Publications. p. 191.
- ^ a b 3 women artists in Italy Retrieved June 14, 2010
- ^ patron saint of painters Retrieved June 14, 2010
- ^ ISBN 978-0-89659-748-8
- ^ Brown, Kate (12 July 2018). "How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon - The organization Advancing Women Artists is at the fore of finding forgotten female Masters like Plautilla Nelli". Retrieved 10 November 2019.
- ^ Dunant, Sarah (9 November 2019). "Point of view - A woman at the Last Supper". BBC Radio 4. Retrieved 9 November 2019.broadcast download available.
- S2CID 191461137.
- ^ "After 450 Years in Storage, a Female Renaissance Master's 'Last Supper' Is Finally Unveiled in Florence". artnet News. 17 October 2019. Retrieved 18 October 2019.
- ^ Barker, Sheila, Canvas is for Commoners Archived 12 September 2015 at the Wayback Machine, Highlights from the Mediceo del Principato, medici.org, 2008-3-20.
- ^ Note: The Artemisia Gentileschi exhibition at the National Gallery, London scheduled for 2020, was postponed due to the COVID-19 pandemic.
- ^ ISBN 0300055641.
- ISBN 0823058743.
- ISBN 9781108739351.
- Zoffany, Johan (1771–1772). "The Royal Academicians". The Royal Collection. Retrieved 20 March 2007.
- ^ Maria Zambaco Retrieved June 15, 2010
- ISBN 0253223245.
- ^ a b [1]Alison Kelly, "Eleanor Coade", Oxford National Dictionary of Biography
- ^ Miss Eleanor Coade, Sculptor in the exhibitors catalogue of the Society of Arts, London
- OCLC 58053128.
- ^ JSTOR 4629147.
- ^ "Seiyodo Bunshojo". Walters Art Museum. Retrieved 28 April 2019.
- ^ "Biography – Chronology of Mary Edmonia Lewis." Edmonia Lewis. (retrieved 24 August 2011)
- ^ Kennedy, Maev (9 December 2012). "Bodleian Library launches £2.2m bid to stop Fox Talbot archive going overseas". The Guardian. Retrieved 11 April 2013.
- ^ Kelly E. Wilder, "Geneviève Élisabeth Disdéri", Oxford Companion to the Photograph. Retrieved 21 March 2013.
- ISBN 978-1-4094-0904-5. Retrieved 21 March 2013.
- ^ "An unidentified dancer", Paul Frecker London. Retrieved 21 March 2013.
- ^ "History" Archived 25 September 2018 at the Wayback Machine, The Society of Women Artists. Retrieved 17 February 2008.
- ^ Taylor, Artist, Storyteller, pp. 59–61; Elizabeth E. Battrick, (1999) Beatrix Potter: The Unknown Years; Lynn Barber, (1980) The Heyday of Natural History, Brian Gardiner, "Breatrix Potter’s Fossils and Her Interests in Geology", The Linnean, 16/1 (January 2000), 31–47; Lear 2007, pp. 76–103; Potter, Journal, 1891–1897.
- ^ "Wikigallery – The May Queen 1900, by Margaret MacDonald Mackintosh".
- ^ Women Artists of the 20th & 21st Centuries, retrieved on June 14, 2007.
- ISBN 0896596699.
- ^ "Margaret Macdonald". Archived from the original on 22 July 2012. Retrieved 4 November 2012.
- ^ "Annie Louisa Swynnerton 1844-1933".
- ^ "Annie Louisa Swynnerton (1844-1933)".
- ISBN 978-0-9851601-0-4
- ISBN 978-0-9851601-0-4
- ^ American Architects Directory (PDF) (Second ed.). R.R. Bowker. 1962. p. xxxix. Archived from the original (PDF) on 7 May 2012.
- ^ "stmargaretofscotland.com".
- ISBN 978-0618252107.
- ^ "Dod Procter", Tate. Retrieved on 16 September 2009.
- ^ "Beryls first painting". www.ourberylcook.com. Archived from the original on 18 February 2015. Retrieved 18 February 2015.
- ISBN 978-0-300-12375-3.
lee miller solarization.
- ^ Lowe, Sarah M., Tina Modootti: Photographs, Harry N. Abrams Inc., Publishers, 1995 p. 36
- ^ Bretécher publications in Pilote, L'Écho des Savanes and Spirou BDoubliées (in French)
- . Retrieved 28 May 2016.
- ISBN 0896593231
- ^ Korsmeyer, Carolyn (2004). Gender and Aesthetics: An Introduction. New York: Routledge. p. 33.
- ^ Lippard, Lucy (1976). From the Center: Feminist Essays on Women's Art. New York: E.P.Dutton. p. 57.
- ^ Parker, Rozika (1984). The Subversive Stitch: Embroidery and the Making of the Feminine. London: The Women's Press. pp. 1–16, 205–215.
- ^ Michna, Natalia Anna (2020). "Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy". S.I be Cool! Aesthetic Imperatives and Social Practices. 10 (15): 168.
- ^ Michna, Natalia Anna (2020). "Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy". S.I be Cool! Aesthetic Imperatives and Social Practices. 10 (15): 180–181.
- ISBN 0-571-04927-3
- ^ Oliver Watson, Studio Pottery, London: Phaidon Press, 1993
- ^ Julian Stair, "Dora Billington", Crafts, 154, September/October 1998
- ISBN 978-1-904584-11-7. Archived from the original(PDF) on 4 March 2016. Retrieved 16 November 2019.
- ^ "Minorities Under Siege: Pygmies today in Africa". UN Office for the Coordination of Humanitarian Affairs. 2006. Archived from the original on 1 December 2006. Retrieved 11 December 2006.
- S2CID 54860588. Archived from the original(PDF) on 16 November 2019.
- ^ Haden-Guest, Anthony (15 November 2008). "New York art sales: 'I knew it was too good to last'". The Guardian. London.
- ^ "Communiqué présentation 3e rotation de l'exposition "elles"". Archived from the original on 12 December 2010.
- ^ staff (October 2006). "Our Town, Central". Orange County Register. Retrieved 11 December 2013.
- ^ "OC... and Sculpture by the Sea!". Sutherland Public School.
- ^ "Vernita Nemec Segments of Endless Junkmail". Artdaily.org, The First Art Newspaper on the Net. Retrieved 11 December 2013.
- ^ "Distinguished Alumni Awards". UC Berkeley. Archived from the original on 16 December 2013. Retrieved 11 December 2013.
- ^ "Camouflaged Cells Betty Beaumont". Newfound Journal. 2 (1). Winter 2011. Retrieved 11 December 2013.
- ^ Myers, Nicole. "Women Artists in Nineteenth-Century France – Essay – Heilbrunn Timeline of Art History". The Metropolitan Museum of Art.
- ^ Nuns as Artists: The Visual Culture of a Medieval Convent Archived 2014-10-19 at the Wayback Machine, Jeffrey F. Hamburger, University of California Press
- ISBN 0754653390.
- ISBN 0-300-10237-2, p. 49
- ISSN 0553-4755, Yale University Press, p.129
- ISBN 978-0-498-06974-1.]
- ^ Hofstede de Groot, Cornelis. "Judith Leyster," Jahrbuch der Königlich Preussischen Kunstsammlungen vol. 14 (1893), pp. 190–198; 232.
- ^ Hofrichter, Frima Fox. "Judith Leyster: Leading Star," Judith Leyster: A Dutch Master and Her World, (Yale University, 1993).
- ^ Molenaer, Judith. "Leyster, Judith, Dutch, 1609–1660," National Gallery of Art website. Accessed Feb. 1, 2014.
- ^ "Why have there been no great female artists". 30 May 2015.
- ^ "Why have there been no great female artists". 30 May 2015. Retrieved 19 May 2021.
- ^ "Inside the Outsider Art Fair". Huffington Post. 15 April 2010. Retrieved 2 November 2018.
- ^ Vann, Philip (2004). Face to Face: British Self-portraits in the Twentieth Century. London. p. 69.
{{cite book}}
: CS1 maint: location missing publisher (link) - ^ Anna Zemánková, The Good Luck Gallery, Los Angeles
Further reading
- Altmann, Suzanne. et al. Eds. (2019) The Medea Insurrection Radical Women Artists behind the Iron Curtain. Cornerhouse Publications, Manchester, England ISBN 978-3960985273
- Anscombe, Isabelle, A Woman's Touch: Women in Design from 1860 to the Present Day, Penguin, New York, 1985. ISBN 978-0-670-77825-6.
- Armstrong, Carol and Catherine de Zegher (eds.), Women Artists at the Millennium, ISBN 978-0-262-01226-3.
- Bank, Mirra, Anonymous Was A Woman, Saint Martin's Press, New York, 1979. ISBN 978-0-312-13430-3.
- Broude, Norma, and ISBN 978-0-8109-2659-2.
- Brown, Betty Ann, and Arlene Raven, Exposures: Women and their Art, NewSage Press, Pasadena, CA, 1989. ISBN 978-0-939165-11-7.
- Callen, Anthea, Women Artists of the Arts and Crafts Movement, 1870–1914, Pantheon, NY, 1979. ISBN 978-0-394-73780-5.
- Caws, Mary Anne, Rudolf E. Kuenzli, and Gwen Raaberg, Surrealism and Women, MIT Press, Cambridge, MA, 1990. ISBN 978-0-262-53098-9.
- Chadwick, Whitney (2007). Women, Art, and Society. Thames & Hudson world of art. Thames & Hudson. ISBN 978-0-500-20393-4.
- Chadwick, Whitney, Women Artists and the Surrealist Movement, Thames and Hudson, London, 1985. ISBN 978-0-500-27622-8.
- Chanchreek, K.L. and M.K. Jain, Eminent Women Artists, New Delhi, Shree Pub., 2007, xii, 256 p., ISBN 978-81-8329-226-9.
- Cherry, Deborah, Painting Women: Victorian Women Artists, Routledge, London, 1993. ISBN 978-0-415-06053-0.
- Chiarmonte, Paula, Women Artists in the United States: a Selective Bibliography and Resource Guide on the Fine and Decorative Arts, G. K. Hall, Boston, 1990. ISBN 978-0-8161-8917-5
- Deepwell, Katy (ed),Women Artists and Modernism, Manchester University Press,1998. ISBN 978-0-7190-5082-4.
- Deepwell, Katy (ed),New Feminist Art Criticism;Critical Strategies, Manchester University Press, 1995. ISBN 978-0-7190-4258-4.
- Deepwell, Katy, Women Artists Between the Wars: 'A Fair Field and No Favour'. Manchester University Press, 2010. 15 November 2010. ISBN 978-0719080807.
- Ellet, E. F., https://www.gutenberg.org/ebooks/69897 Women artists in all ages and countries, Harper & Brothers, New York, 1859
- Fine, Elsa Honig, Women & Art, Allanheld & Schram/Prior, London, 1978. ISBN 978-0-8390-0187-4.
- Florence, Penny and Foster, Nicola, Differential Aesthetics, Ashgate, Burlington, 2000. ISBN 978-0-7546-1493-7.
- Greer, Germaine, The Obstacle Race: The Fortunes of Women Painters and Their Work, Farrar Straus Giroux, New York, 1979. ISBN 978-0-374-22412-7.
- Harris, Anne Sutherland and Linda Nochlin, Women Artists: 1550–1950, Los Angeles County Museum of Art, ISBN 978-0-394-41169-9.
- Heller, Nancy G., Women Artists: An Illustrated History. 4th ed. New York: Abbeville Press, 2003. ISBN 978-0789207685.
- Henkes, Robert. The Art of Black American Women: Works of Twenty-Four Artists of the Twentieth Century, McFarland & Company, 1993.
- Hess, Thomas B. and Elizabeth C. Baker, Art and Sexual Politics: Why have there been no Great Women Artists?, Collier Books, New York, 1971
- Larue, Anne, Histoire de l'Art d'un nouveau genre, avec la participation de Nachtergael, Magali, Éditions Max Milo, 2014. (in French) ISBN 978-2315006076
- Kowalczykowa, Alina. "Zniewolnienie i Ślady Buntu czyli Autoportrety Kobiet od Claricii do Olgi Boznańskiej". (Enslavement and Signs of Revolt or Women's Self-Portraits from (in Polish) (abstract in English)
- Marsh, Jan, The Pre-Raphaelite Sisterhood, ISBN 978-0-7043-0169-6.
- Marsh, Jan, Pre-Raphaelite Women: Images of Femininity in Pre-Raphaelite Art, Phoenix Illustrated, London, 1998. ISBN 978-0-7538-0210-6
- Marsh, Jan, and Pamela Gerrish Nunn, Pre-Raphaelite Women Artists, Thames and Hudson, London, 1998. ISBN 978-0-500-28104-8
- The National Museum of Women in the Arts, ISBN 978-0-8109-1373-8.
- Nochlin, Linda, Women, Art, and Power and Other Essays, ISBN 978-0-06-435852-1.
- ISBN 978-0-86358-179-3.
- Parker, Rozsika, and Griselda Pollock, Old Mistresses: Women, Art & Ideology, ISBN 978-0-7100-0911-1.
- Parker, Rozsika, The Subversive Stitch: Embroidery and the Making of the Feminine, Routledge, New York, 1984. ISBN 978-0-7043-4478-5.
- Petteys, Chris, Dictionary of Women Artists: an international dictionary of women artists born before 1900, G.K. Hall, Boston, 1985
- Pollock, Griselda, Vision and Difference: Femininity, Feminism and the Histories of Art, Routledge, London, 1988. ISBN 978-0-415-00722-1
- Pollock, Griselda, Generations and Geographies in the Visual Arts, Routledge, London, 1996. ISBN 978-0-415-14128-4
- Pollock, Griselda, (edited and introduction by Florence, Penny), Looking back to the Future, G&B Arts, Amsterdam, 2001. ISBN 978-90-5701-132-0
- Pollock, Griselda, Encounters in the Virtual Feminist Museum: Time, Space and the Archive, 2007. Routledge. ISBN 978-0-415-41374-9.
- Rosenthal, Angela, Angelica Kauffman: Art and Sensibility, London and New Haven: Yale University Press, 2006. ISBN 978-0-300-10333-5.
- Rubinstein, Charlotte Streifer, American Women Sculptors: A History of Women Working in Three Dimensions, G.K. Hall, Boston. 1990
- Sills, Leslie. Visions: Stories About Women Artists, Albert Whitman & Company, 1993.
- Slatkin, Wendy, Voices of Women Artists, ISBN 978-0-13-951427-2.
- Slatkin, Wendy, Women Artists in History: From Antiquity to the 20th Century, Prentice Hall, NJ, 1985. ISBN 978-0-13-027319-2.
- Spies-Gans, Paris A., A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760-1830, London and New Haven: The Paul Mellon Centre for Studies in British Art / Yale University Press, 2022. ISBN 978-1913107291.
- Tufts, Eleanor, American Women Artists, 1830–1930, The National Museum of Women in the Arts, 1987. ISBN 978-0-940979-02-4.
- Waller, Susan, Women Artists in the Modern Era: A Documentary History, Scarecrow Press Inc., London, 1991. ISBN 978-0-8108-4345-5.
- Watson-Jones, Virginia, Contemporary American Women Sculptors, Oryx Press, ISBN 978-0-89774-139-2
- de Zegher, Catherine, Inside the Visible, MIT Press, Massachusetts, 1996.
- de Zegher, Catherine and Teicher, Hendel (Eds.), 3 X Abstraction, Yale University Press, New Haven, Drawing Center, New York, 2005. ISBN 978-0-300-10826-2.
External links
- Collection of Works by Women Artists in Germany and Austria, 1800–1950
- Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum
- n.paradoxa: international feminist art journal, scholarly writing about contemporary women artists and feminist theory.
- Archives of Women Artists, Research and Exhibitions, non-profit organization for the promotion of women artists of the 20th century
- Women Artists Self-Portraits and Representations of Womenhood from the Medieval Period to the Present
- National Museum of Women in the Arts
- Pre-Raphaelite Women, Part D: The Art-Sisters Gallery
- Women's Art at the World's Columbian Exposition, Chicago 1893
- Gallery of Victorian and Edwardian Women Artists at the University of Iowa
- UK's Latest Art Magazine Polled Experts to list the 30 Greatest Women Artists.
- Colouring Outside The Lines. A UK zine interviewing female contemporary artists from around the world.
- The Great Female Artists from the Middle Age to the Modern Age
- AWARE: Archives of Women Artists, Research and Exhibitions (English - French)
- Insurrection: Radical Women Artists Behind the Iron Curtain (English-German)