This module involves the study of domestic genres and women painters in Northern Europe. We also consider amateurs and academics. What constituted an amateur versus a professional woman artist? In addition we’ll cover acceptable subject matter for women and gendered interpretations. Finally we'll examine the art academies and gender issues.
- becoming a professional
- domestic genres
- new ideologies
- portraiture by women
- the woman’s touch
- Judith Leyster
- Maria Merian–travel, art, and science
- Madame Vigée-Lebrun–court painter
By end of this module, you should able to
- explain how women and men depict the same subject matter quite differently
- discuss how a woman such as Vigée-Lebrun rose to great heights as an artist and considerable success when most women did not
- recognize the styles of the era
- list the women artists’ names and their works
- describe the historical background and the culture of the regions involved
Judith Leyster (1609-1660)
Judith Leyster Self Portrait, 1630
Judith Leyster studied from Hals and had a great career as a portraitist. She wears attire which associates her with a wealthy family and her painter's guild. She smiles and is confident in her abilities her work looks much like Hals while she also demonstrates that women were capable of forming an artistic career in the merchantilist society.
Élisabeth Louise Vigée-LeBrun (1755-1842)
Several female artists including Elisabeth Louise Vigée-Lebrun rose to distinction during these times. Lebrun rose to distinction in her portraiture. She was one of few women admitted to the French Academy before the revolution, but was removed afterward as they no longer welcomed women to the organization. She is seen here at work on one of her portraits of Queen Marie Antoinette.
Rachel Ruysch (1664-1750)
Resources for Project Ideas
Select 1 of the topics below and write about it. Use examples and artists' names, if available, to make your case. Include image(s) as needed. Remember to cite and write 1-2 paragraphs.
1. Write about why women's artwork often went without their signatures or identities.
2. What was considered acceptable subject matter in the 17th and 18th centuries?
3. What were the gender issues concerning the art academies?