The
following collection focuses on demonstrating
insight into just how women artists of the 18th and early 19th
century were attempting to establish themselves into a male-dominated field. Throughout
the 18th and early 19th century women artists were
fighting to establish themselves into the art world due to the challenges of
restrictions, lack of education, and the biggest challenge being that they were
entering into a male-dominated field. Despite
France’s Académie
Royale de Peinture et de Sculpture setting a limit to the
women they admitted as well as restrictions keeping women from attending
classes for art classes, women were among the most sought-after artists in
Paris in the 1780s. Although there were a multitude of critics whom applauded
the new reputation of women artists, others viewed it as pure arrogance for
women who displayed their skills so publically. Royal women were the biggest
advocates for women artists during this time as they supported their work. Unfortunately,
the onset of the French Revolution created harsh conditions for these artists
who had been supported by royal families as many of the royal families left
France. However, in the early 19th century women began to turn to
established artists, such as Charles Chaplin, as well as attending private
academies. Therefore, many paintings especially when it comes to paintings of
young women, which were formerly attributed to male artists such as Jacques
Louis David, now have been discovered to have been painted by women artists. This
curation will demonstrate insight into just how women artists of this time
period were attempting to establish themselves into a male-dominated field.
Charlotte
du Val d’Ogne, or Young Woman Drawing, Marie
Denise Villers, 1801, Oil on canvas, 17.120.204
Villers, being restricted
from classes, took the route of aligning herself with an established artist, Anne Louis Girodet-Trioson, and was a gifted
pupil of his and even exhibited in the Salons. Many of her portraits attracted attention,
especially this one as it is still unknown whether it is a portrait or a
self-portrait. At one time Charlotte du Val d’Ogne, or Young Woman Drawing, was even attributed to a male artist,
Jacques-Louis David; however, when it became identified as the work of Villers
this engaging image caught the attention of many through the important debate
of who made it. This debate was important due to the fact that at this time a
women’s work was less valued than a male artists.
Edouard
Manet, Portrait of Eva Gonzales, 1870,
oil on canvas, WikiArt, National Gallery
Similar to Charlotte du Val d’Ogne, or Young Woman
Drawing, viewers may perceive this painting as one of two things: a
self-portrait or a portrait. It can be viewed as a self-portrait due to the
fact that she is an artist herself as well as a women trying to establish
herself in the field. It can be viewed as a portrait due to the fact that the
artist can actually see her work. The title, along with the action of her
painting an actual work that can be seen by the viewers, portrays this painting
as a portrait of her rather than a self-portrait.
Charles
Chaplin, A Young Girl Drawing, 1860-66,
oil on panel, B.M. 698, Bowes Museum
Though
this painting is produced by a popular male artist, he is advocating woman
artists during this time period. Chaplin was a well-known artist who offered
classes to young women while the rest of society restricted them. In addition,
his portrayal of a young girl in the act of studiously painting allows viewers
to see that Chaplin supports this new reputation. Through depicting this young
girl as concentrated on creating a work, as well as displaying previous work in
the background, viewers can recognize that Chaplin believes in women artists
emerging into this male-dominated field.
Adélaïde
Labille-Guiard, Self-Portrait with Two
Pupils, 1785, oil on canvas, 53.225.5
Adélaïde Labille-Guiard was admitted to the
French Academy along with only three other women artists. This picture reflects
her earlier training through the use of her rich palette and fine detatil. This
work has been perceived as a propaganda piece arguing for the restriction of
how many women can be admitted into the Academy to be released. In comparison
to Charlotte du Val
d’Ogne, or Young Woman Drawing, the artist’s femininity is displayed through
her fashionable dress, which is heightened by the presence of her pupils.
Unlike her fellow women artists in the Academy she decided to participate in
the Revolution rather than to leave France.
Marie
Victoire Lemoine, The Interior of an
Atelier of a Woman Painter, 1789, oil on canvas, 57. 103
The Interior of an Atelier of a Woman Painter demonstrates
the practice and belief that women are working hard to be established into the
male-dominated field. Through the depiction of a young girl copying the art of
an older woman viewers can perceive that older, more experienced women artists
are working to educate younger girls due to the fact that society will not. The
painting is interpreted as a protagonist of female artists as well as a tribute
from one woman artist to another.
Anna
Klumpke, Rosa Bonheur, 1898, oil on
canvas, 22.222
Similarly to Charlotte du Val d’Ogne, or Young Woman Drawing, Anna Klumpke’s Rosa
Bonheur demonstrated the
representation of a “New Woman” of the 19th century through
becoming
successful artists. In addition, artwork produced by women artists were considered
inferior to men’s work and both these artists helped overcome that stereotype.
On the contrary, Klumpke portrays Rosa Bonheur as a masculine woman due to the
fact that she dressed like a man in order to assert herself in the
male-dominated field. Whereas, Charlotte du Val d’Ogne is depicted as very feminine and portrays to
viewers that feminitity does not define whether you can be established into
this male-dominated world or not.
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