Women and Art in the 18th Century

During the early 18th century women didn't have the same privileges as men. One effect of this was women painting still lifes as opposed to models. As time has passed, women have had more opportunity to create art freely and be recognized. Instead of being limited by society women are able to do more of what they wanted.​ This was seen in mid to late 18th century. Women had more freedom to paint subjects other than still lifes and this lead to the rise of female artists. Many women began to paint self portraits and commissioned portraits but their still lifes often got more recognition. Margareta Haverman and Rachel Ruysch were painting in the early 18th century and because of this most of their paintings are still lifes​. Later women had more opportunity to paint what they wanted and this resulted in women artists like Vallayer-Coster who painted scenes from everyday life, portraits and still lifes. Even as women were able to paint more freely and had access to different subjects they were still not recognized as frequently or on the same level as men. There was even a cap on the amount of women admitted to France’s prestigious Académie Royale de Peinture et de sculpture and women were excluded from classes that male students could attend. These restrictions did not prevent women artists from becoming popular, in fact they were able to rise in popularity and many women artists were receiving commissions. This show displays paintings from the early 18th century to the late 18th century and answers the question of what women artists were doing during the 18th century.

Title: Flowers in a Glass Vase 

Artists: Rachel Ruysch

Date: 1704

Medium: Oil on Canvas 

Dimensions: 33 x 26 3⁄8

DIA Accession Number: 1995.67

Rachel Ruysch was one of the first women artists being recognized during her time along side of Margareta Haverman. Before her women were hardly recognized as artists and this limited what their subject matter could be. This is why early women artists are known for their still lifes. In this painting she displays her impressive technique and ability to paint these flowers realistically and create a composition that draws the viewer's eye around the painting. This painting, like many of her others, includes symbolism. The irises represent the Christian trinity seeing as the petals form in groups of three.

Title: A Vase of Flower 

Artist: Margareta Haverman 

Date: 1716

Medium: Oil on Wood 

Dimensions: 31 1⁄4 x 23 3⁄4 in.

MET Accession Number: 71.6

A vase of brightly colored flowers sits upon a grey niche. Each flower has its own specific detail that makes it unique such as a water droplet or an insect. Our eyes are drawn to the center of the vase of flowers where a white/grey ​Baguette tulip sits illuminated by its color. Margareta Havermans ability to paint each flower with detail and precision is highly impressive and draws the viewer into the image causing us to want to look closer. This still life is one of many that she completed seeing as she was an early 18th century woman artist and was limited to painting still lifes.

Title: A Vase of Flowers and a Conch Shell 

Artist: Anne Vallayer-Coster

Date: 1780

Medium: Oil on canvas

Dimensions: Oval, 19 3/4 x 15 in.

MET Accession Number: 07.225.504

This oval painting was one of three presents in the Salon of 1781. Vallayer-Coster is able to paint with a clear sense of a light source. We can see this while looking at the shimmering shell at the bottom of the vase as it reflects the light. The flowers in the middle of the vase are almost glowing as the light illuminates them. In the way she paints the light we are able to distinguish the depth of the flowers. This painting was from the late 18th century when women were also painting portraits but still continued to paint still lifes as represented by this painting.

Title: Self-Portrait with Two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond

Artist: Adélaïde Labille-Guiard

Date: 1785

Medium: Oil on Canvas

Dimensions: 83 x 59 1⁄2 in.

MET Accession Number: 53.225.5

Adélaïde Labille-Guiard was one of the four female artists that were admitted into the​ French Académie Royale. This was an accomplishment seeing as only a select few were accepted. This painting was interpreted as propaganda for women advancing in the art world. She is representing her skill and elevating the female artist proving that they are able to paint as well as men and should be able to paint subjects such as this and be represented equally. She was painting during the late 18th century alongside other women artists who were painting similar portraits with similar messages.

Title: Marie Antoinette with a Rose 

Artist: Elisabeth Louise Vig​é​e Le Brun 

Date: 1783

Medium: Oil on Canvas

Dimensions: 46 x 35 in.

MET Accession Number: None

Prior to this portrait of Marie Antoinette, Elisabeth Louise Vig​é​e Le Brun painted one similar to this. This newer portrait presents Marie Antoinette more formally and on a larger scale. Vig​é​e Le Brun displays her skill in this detailed portrait. Seeing as she painted this in the late 18th century she had access to models and was not restricted to still life scenes. Her skill made her a popular portrait painter of her time and often requested by royals who would commission art.

Title: Self-Portrait with a Harp

Artist: Rose Adélaïde Ducreux

Date: 1791

Medium: Oil on Canvas

Dimensions: 76 x 50 3⁄4 in.

MET Accession Number: 67.55.1

This self portrait done by Rose Adélaïde Ducreux was admired by critics because of her graceful pose and lavish dress. The fabric of her dress looks as if we could reach into the painting and touch it. This draws the viewer into the painting and displays her skills. She portrayed herself as a well put together and talented woman which elevated herself as a female artist. During the time of this painting other women artists were doing similar self portraits and it had become more normalized for women artists to paint themselves or other portraits.