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. New York: 1912.
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Women, Art and Society.
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. New York, Abrams, 1981.
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. New York: Abrams, 1976.
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. New York: Washington Square Press, 1968.
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. New York and London: Paddington Press, 1974.
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Biography—Slide 1
CLARA PEETERS.
Still Life with a Vase of Flowers, Goblets, and Shells
. 1612. Oil on panel. 23
Slide One
Clara Peeters (1594-1657)
Clara Peeters was born in Antwerp. She was a still life painter. She often used flowers in her work, done in the Flemish style. She painted breakfast and banquet pieces with a lot of detail. Her first paintings were done when she was fourteen years old and by the time she was seventeen she created many still lifes which are now considered masterpieces. Her painting “Still Life With Flowers, Goblets and Shells” is rather austere. It is considered technically brilliant. The artist has even included her own image reflected seven times in the surface of the goblet on the right “The use of the self portrait was used as a form of advertisement of that period.” Little is known about her personal life
except
that her family decided to encourage her artistic talents.
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Biography—Slide 2
Audrey Flack.
Leonardo’s Lady
. 1974.
Slide Two
Audrey Flack
(1931- )
Audrey Flack was born in New York City. She went to Music and Art, Cooper Union and Yale Graduate School. She is a prominent photo realist and she tries to imitate the photograph and make the surface of things look real. Her subjects are still lifes yet she doesn’t combine objects that are often found together. “Leonard’s Lady” is an eight foot square canvas. It combines many feminine object such as a rose, a goblet, a bottle of nail polish and little Cupid reflected in a mirror. Her objects are arranged in an unorthodox space. The high view of her still life flattens the space yet brings the objects in her painting close. She understands the power of a close up vision. Her colors are harsh, dominated by primaries such as red, blue and yellow.
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Biography—Slide 3
Sofonisba Anguissola.
Self-Portrait
. 1561
Slide Three
Sofonisba Anguissola
(1532-1625)
In the history of art, Sofonisba Anguissola is an important figure not only for her personal achievements but also because she provided a role model for other Italian women aspiring to be artists. She was born into a noble family and was raised into an exceptional environment that allowed her to develop her creative talents. When she was twenty nine she was the court painter of King Philip of Spain. At the time she painted “Self Portrait” (1561). In it she is accompanied by an old woman who was her chaperone. She shows herself playing a musical instrument which was a mark of culture and noble beartng. Her work has been confused with great artists such as Leonardo Da Vinci and Titlan. The painting is in dark colors and is greatly highlighted in the face and hands.
(Figure available in print form)
Biography—Slide 4
ROSALBA CARRIERA.
Louis XV as a Boy.
1720. Pastel on paper. 19 x 14”. 65.2655, Forsyth Wickes Collection. Courtesy, Museum of Fine Arts, Boston.
Slide Four
Rosalba Carriera
(1675-1752)
Rosalba Carriera was born in Venice. She learned the art of lace making from her mother. She did miniature paintings which brought her success. Later, she had international recognition as a pastel portraitist. At the invitation of a Parisian banker, she arrived in Paris in 1720. It was a time when women had increasing popularity as Salon Socialites. One of her first portraits was of the young French king, Louis XV who was ten years old. It was a great pastel portrait and it had an almost oil paint-like treatment of the face and a loose treatment of the jacket. Despite the flattering portrait of the young monarch, she wrote in her diary after one sitting, “His gun fell over, his parrot died, and his little dog fell ill.” As a portrait artist, Carriera’s talents were appreciated by an international clientele. Europe’s aristocracy demanded portraits by her hand.
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Biography—Slide 5
Marisol.
Self-Portrait
. 1961Ð62
Slide Five
Marisol
(1930- )
Marisol Escobar was born in Paris of Venezuelan parents. Because of World War II, the family moved to Los Angeles, California. At the age of 16, Marisol felt she wanted to become a painter and studied at the Jepson School in Los Angeles followed by the Beaux Artes in Paris. She, like many others, gravitated towards the Art Students’ League in New York City where she studied with Hans Hoffman. It was here that Marisol found her true calling in sculpture.
As part of the Pop art culture of the 60s, Marisol found herself creating humorous depictions of well-known people as a means of ridiculing the notion of celebrity and of reasserting the uniqueness of the work of art. Her pieces are impeccably crafted in a manner that makes them especially accessible to the viewer.
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Biography—Slide 6
HARRIET HOSMER.
Zenobia in Chains
. 1859. Marble. H.: 49”. Courtesy Wadsworth Atheneum, Hartford.
Slide Six
Harriet Hosmer
(1830-1908)
Harriet Hosmer is an American sculptor who was trained in St. Louis Medical College in Anatomy. Her images of women are famous neoclassical creations. She conceived her sculptures from the ideal images of heroic women in Greek and Roman history. Her sculpture called, “Zenobia in Chains” of 1859, is from a conception of this legendary figure who was Queen of Palmyra and who marched in chains on the streets of Rome after her defeat. Hosmer’s conception of Zenobia was developed as a role model of courage and wisdom for contemporary women challenging prevailing Victorian ideals of femininity.
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Biography—Slide 7
Figure 60. GEORGIA O’KEEFE.
Red Hills and Bones
. 1941. Oil on canvas. 30 x 40”. Philadelphia Museum of Art: The Alfred Stieglitz Collection.
Slide Seven
Georgia O’Keeffe
(1887-1986)
Georgia O’Keeffe was one of the first abstract woman artists. Her training began at the Art Institute of Chicago and at the Art Students League in New York. O’Keeffe was original in her ability to purify shapes and colors. Her paintings of flowers are famous. They are presented blown up and frontal and are three or four feet in size. Landscapes of the west are another subject. The painting, “Red Hills and Bones” of 1941, combines animal bones and rolling hills. O’Keeffe said, “When I found the beautiful white bones on the desert, I picked them up and took them home. I have used these things to say what is to me the wideness and wonder of the world.”
(Figure available in print form)
Biography—Slide 8
Rochelle Toner (1940Ð).
“LaNoce”.
Slide Eight
Rochelle Toner
(1940Ð)
Rochelle Toner was born in Des Moines, Iowa. She grew up in farm country which had a great influence on her art. She attended the University of Northern Iowa and later the University of Illinois. Her sculpture and Intaglio etchings both derive their forms from nature. She is included in many permanent public collections throughout the United States and Europe. She is presently Dean at the Tyler School of Art in Philadelphia.
(Figure available in print form)
Biography—Slide 9
Figure 35. LILLY MARTIN SPENCER.
The War Spirit at Home
. 1866. Oil on canvas. 30 x 32-3/4”. Collection of the Newark Museum. Purchase 1944. Wallace M. Scudder.
Slide Nine
Lilly Martin Spencer
(1822-1902)
At an early age, Lilly Martin Spencer and her parents emigrated from France to the United States. She found it hard to make a living for her husband and children in Cincinnati so the family moved to New York. There, her work developed into a more sophisticated style which she became famous for. In the painting, “The War Spirit at Home” which was done in 1866 she depicts a fatherless household celebrating Grant’s victory in the Civil War. Her skills developed at depicting an event with figures. She could be convincing about domestic scenes which was what she was familiar with. The woman in the painting on the right is a self portrait.
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Biography—Slide 10
Figure 18. JUDITH LEYSTER.
The Proposition
. 1631. Oil on panel. 11-11/16 x 9-1/2”. Mauritshius, The Hague.
Slide Ten
Judith Leyster
(1609-1660)
Judith Leyster was one of the greatest Dutch artists of her time. Her father owned a brewery in Haarlem. Despite the fact that she was not born into an artistic family, she managed to receive an artistic training. Leysler did not specialize in one specific type of painting as was the tradition at the time. She was versatile and painted still lifes, portraits and genre scenes. Her personal style is less sketchy than Frans Hals whom was a male contemporary. The man in “The Proposition” is wearing a fur hat and is offering the lady coins in payment of her favors. The bare interior is illuminated by a single candle. The painting is exceptional in expressing an intimate atmosphere and an intimate exchange between two people.
(Figure available in print form)
Biography—Slide 11
ARTEMISIA GENTILESCHI.
Judith Beheading Holfernes
. c.1620. oil/linen.
Slide Eleven
Artemesia Gentileschi
(1593-1692)
Artemesia Gentileschi was born in Bologna, Italy. She worked in the late Renaissance style of Caravaggio. She had a tragic and violent youth. Her father, an artist, arranged for her to study with an artist named Tassi. Tassi abused Artemesia physically and her father took him to trial which did not end in her favor. In the painting “Judith Decapitating Holofernes” done in 1620, she expressed her emotional indignation at the wrongs she suffered in her life. It depicts the Old Testament heroine Judith, who stole into the enemy camp of the Israelites, murdered the tyrant Holefernes and then escaped with his head.
(Figure available in print form)
Biography—Slide 12
Figure 29. ANGELICA KAUFFMAN.
The Artist Hesitating Between the Arts of Music and Painting
. c.1794. Lord St. Oswald, Nostell Priory, England.
Slide twelve
Angelica Kauffman
(1741-1807)
Angelica Kauffman was born in Switzerland. She painted portraits in England to earn a steady income. In addition she received recognition for her history paintings. “The Artist Hesitating Between the Arts of Music and Painting” uses symbols from the story “Hercules at the Crossroads Between Fame and Luxury”. It illustrates an episode in her own youth when she considered becoming an opera singer. In it is her self portrait and she is gently pressing the hand of Music on the left, while her body inclines towards Painting, who is pointing to the Temple of Fame.
(Figure available in print form)
Biography—Slide 13
KATHE KOLLWITZ.
Vienna Is Dying! Save Its Children!
1920. Lithograph.
Slide Thirteen
Kathe Kollwitz
(1867-1945)
Kathe Kollwitz was considered a German Expressionist. At one level this meant that the pathos of her society filtered through her to her drawings, etchings, and lithographs. Unlike other expressionists, however, Kollwitz grieved for humanity while others grieved for themselves. Her images frequently included a mother protecting her children or mourning her children; the late 1800s were a time of anguish and poverty and hunger. She saw no separation of art and social criticism and her work reflected this attitude. Kollwitz always saw the mother as heroine; the female form dominated her work.
(Figure available in print form)
Biography—Slide 14
MARY CASSATT.
The Family
. 1887. oil/canvas.
Slide Fourteen
Mary Cassatt
(1844-1926)
Mary Cassett was born into a wealthy Philadelphia family. She returned to Europe after having studied art in Rome. One year, Edgar Degas spotted her piece in the Paris Salon Exhibition and asked her to join the Impressionists. She felt there was one thing in life for a woman, and that was to be a mother, yet she sacrificed that for her art. Her painting, “The Family” done in 1882, portrays a mother and her two children. Her baby is sitting on her lap gazing at the daughter to her side. The mother’s eyes are on the baby. Although it is a triangular composition, we feel close to the figures in the picture.