Limitations on Female Painters

 Tallulah Wirtz

Limitations on Female Painters 

Clara Peeters is well known as one of the first female painters to receive recognition and have an established professional career in the field. During her time, women were extremely limited in educational opportunities in painting. While Peeters was highly influential in establishing women in the arts, these societal limitations and constraints for female artists continued for hundreds of years. Over time, opportunities increased, but the expectations for female artists have continually shaped their work and how we understand it. Throughout different painting movements, the obstacles for female artists varied, whether it be a lack of education, restricted subject matter, or a lack of respect from society. By studying influential women in art history, we begin to understand the inequalities in the art world and how they impact the art we know. These difficulties were not just personal, but impacted how women created art and how it functioned. Though it may be frustrating to see how long it has taken to see substantial change in these ideas, it is encouraging to observe the gradual establishment of women in art. These figures have challenged societal expectations in the fight for creative freedom and professional respect. Each selected piece was created by a female artist whose work was impacted by their identity as a woman and a painter.

 

A Bouquet of Flowers, Clara Peeters, Flemish, ca. 1612

Oil on wood

On view at The Met Fifth Avenue in Gallery 617

Clara Peeters is one of the earliest women to have a well-established portfolio and career. Peeters specialized in still life paintings and was particularly known for her flower pieces. While her work is a display of exemplary technical skill, Clara was unable to be a part of an artist guild, which was crucial to an artist’s success. Many genres of painting were seen as inappropriate for women to participate in. In order for Peeters to have a successful artist career, still life was the only accessible option. 

Self-Portrait, Judith Leyster, c. 1630

Oil on canvas 

National Gallery of Art 1949.6.1

Judith Leyster is now regarded as a leading Dutch artist, but her work was misattributed to male artists up until the past 100 years. Her self-portrait shows her sitting in a relaxed, assertive pose that was rarely used for women. The complex demeanor is a display of technical skill, which allowed her to establish a professional career. Although painting was dominated by men, Leyster excelled in her field and became one of two women to be admitted to the Haarlem painters’ guild in the 17th century. 

Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, c.1638-9

Oil on canvas

Cumberland Art Gallery, Presence Chamber, Hampton Court Palace

In this self-portrait, Artemisia portrays herself as the allegory of the painting. The allegory of painting was always depicted as a female, so this is a portrait her male competitors could not replicate. Gentileschi was a very accomplished painter, but she was unable to study art at an academy because she was a woman. She was taught by her father and was therefore limited in colleagues and teachers. Because of this (among more complex reasons), she was unable to be properly taught perspective. 

Marie Bracquemond, On the Terrace at Sèvres, 1880 

Oil on canvas

Artizon Museum 

When describing her painting teacher, Bracquemond said that “he doubted the courage and perseverance of a woman in the field of painting… He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes.” Art education for women was becoming much more accessible, but they were often required to study at private academies. It was deemed inappropriate for women to study the nude model, restricting them from mastering the most lucrative painting style, history painting.

 

Young Woman Knitting, Berthe Morisot, French ca. 1883

Oil on canvas

This painting shows a simple, domestic scene of a woman knitting outside. The domestic nature of impressionist painting themes was more accessible to women. Many female artists of this time felt pressure to choose between their careers and marriage. Morisot was able to establish herself well professionally well as she married later in life. Many other painters, such as Morisot’s sister and Marie Bracquemond, above left their careers because of this tension. 

Young Mother Sewing, Mary Cassatt, American, 1900

Oil on canvas

On view at The Met Fifth Avenue in Gallery 768

While some may assume that Mary Cassatt was interested in painting maternal scenes because of her identity as a woman, it is important to understand how cultural restraints would have impacted her subject matter. With limited access to education and professional models, Cassatt used what was available and acceptable for her subjects. The majority of her works are modeled after her family. Her identity impacted her subject matter, but it can be argued that this was due to external pressures and limitations, not personal thematic choices.