Expectations of women in the 1800's

 This collection of works shows a variety of French artists who painted women around the years 1868-1870. Throughout history in every part of the world, society has placed strict expectations on women, which often is controlled by men. Looking at the way the women in these paintings are portrayed is a way to better understand how women were valued during this time, and to see what was considered to be an “honorable and dependable woman.” Five out of the six artworks shown in this exhibit were painted by men, with one woman artist included as well. The painting by Marie Denise Villers, the one woman artist, is included to show the similarities and differences between how many men artists portrayed women in their art, although the differences might not seem obvious at first. In addition to that, five out of the six works show women sitting or standing in rather tranquil and proper poses. The one painting in this exhibit that depicts a poorer woman, a shepherdess, is included to contrast how women of the lower classes were portrayed in comparison to women of higher class. Each artist paints the women figures in their paintings in ways that reflect how they view them. In short, this curation of artworks shows examples of how artists chose to depict women during the middle-to-late 1800’s in France. 

Charles-François Marchal, Penelope, ca. 1868, 43 1/2 x 19 1/2 in. Oil on canvas. Located in The Met Museum, 17.138.2.

This painting is actually supposed to be displayed with another painting by Marchal called Phryne, which shows a woman wearing a more seductive outfit with a demeanor that many at the time would deem inappropriate. Unlike its missing partner, Penelope presents a modest-looking woman who seems content to stay at home all day and wait for her husband, whose picture is set on the small table by the woman’s side. This painting was much more appreciated by the general public at the time, as most people thought that women should express themselves in ways similar to Penelope. While Penelope was praised, Phryne would have been scoffed at, which seems to be Marchal’s intention.

Marie Denise Villers, Marie Joséphine Charlotte du Val d'Ognes, 1786–1868, Paris, 63 1/2 × 50 5/8 in. Oil on canvas. Located in The Met Museum, 17.120.204.

This painting was originally thought to be done by a man, but was later found to be the work of a woman artist. Rather than being depicted in a perfect, elegant light, Villers creates a figure of a young woman that is slightly stooped over, with a seemingly guilty expression as if she was caught in the act of doing something she wasn’t supposed to be doing. The view of a romantic couple outside the window along with the art supplies the young woman holds tells the story of why this might be so. For a woman to be shown in such an imperfect, human way during this time shows how different the touch of a female artist was in place of a man’s.

Édouard Manet, The Balcony, 1868, 67 in × 49 in. Oil on canvas. Located in Musée d'Orsay, Paris.

While showing three clear human figures (with one more hidden in the background), none of them

seem very life-like. None of the people interact with each other, and are in more posed positions than

natural. There is a man included in this painting, and while he is behind the two women in white, he still

gives off an air power and importance that surpasses theirs. The women seem tranquil and dainty, as

if they have nothing to do with their lives, and will just be taken care of by the provider of the home for

the rest of their lives.

Claude Monet, Madame Louis Joachim Gaudibert, 1868, 85 in × 55 in. Oil on canvas. Located in Musée d'Orsay, Paris.

Monet was commissioned by a wealthy friend to paint this work, which shows the friend’s wife standing

elegantly yet modestly by herself. While the woman is painted with her body facing more towards the

viewer, her head is facing away as if she is looking off at something to the side, which was an unusual

pose at the time. The woman’s age is evident from the details of her profile, but that doesn’t seem to

take away from the idealization of her form. She is still the ideal picture of what a wealthy wife was

thought to look like. 

Jean-Frédéric Bazille, View of the Village, 1868, 51 in × 35 in. Oil on canvas. Located in Musée Fabre, Montpellier.

This painting depicts a young woman sitting before a picturesque view of a faraway village while

wearing a dress with a long pink sash. As the viewer, it looks like she could be looking at us, but her

eyes seem to be shifted slightly downward, as if she was looking at someone else who is on the other

side of the painting. Her expression looks a bit uneasy, as if she doesn’t feel comfortable with the

accompanying party. She still holds her posture upright and proper, which shows that no matter what

she’s feeling she automatically holds to what is expected of her.

Jules Breton, The Shepherdess, 1870, 42 in × 24 in. Oil on canvas. Museo Soumaya, Mexico City, Mexico.

Showing another side of society, this painting depicts a young woman shepherdess who is bearing some kind of stick. Unlike the serene expressions of the wealthier women often shown in paintings, this girl’s expression is fierce and defensive, which might have come as a shock to people viewing the work at the time it was created. The artist shows her low class level with how she is dressed, as well as her overall posture. If this was a woman of higher status, people would most certainly look down on her for supposed attitude.