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Women Do, Women Are Art

Group 1 Gallery Exhibition: ARTT205

Stacy F.

on 13 October 2013

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Transcript of Women Do, Women Are Art

Women Do, Women Are Art
The Multitude of Female Roles in Art
From Object to Owner: Representations of the Female Nude Over Time
Talking Stick, Nicole Alger 2013. oil
During Carnival, Mary Cassatt 1872. oil
Saints and Sinners: Women of Mythology
The Fates
Women Trailblazers
Women have triumphantly paved their own way
in countless art movements,
but are oftentimes overshadowed by their male counterparts.
This is a glimpse into four female trailblazers in various genres including: baroque, photography, abstract, and avante guarde.
Artemesia Gentileschi
Artemesia Gentileschi was on of the first women of the 17th century to achieve artistic success.

She is considered one of the most famous and skilled painters of the Baroque Era.

She celebrated and humanized strong women characters.
Judith Slaying Holofernes
Gentileschi's career epitomizing piece.
1620. Oil on canvas. Galleria degli Uffizi, Florence.
Susanna and the Elders
Gentileschi's first signed painting, done at age 17.
1610. Schönborn Private Collection.
The roles of women in the art world as both subjects and artists have been ever changing throughout history, some of which will be explored in the museum exhibit Women Do, Women Are Art.

Over the centuries, the appearances of women in art has shown the progression of their roles in society, as well as the change in the portrayal of their physical images.

Past female artists during their respective art eras, were considered inferior to their male counterparts, yet some were able to rise into becoming innovaters in their own right.

Collected By: Group 1
Brittany Bell, Stacy Facundo,
Lillian Morris, and
McMurty Sheain
Julia Margaret Cameron
“No Artist is ahead of his time. He is his time; it is just that the others are behind the time.”
-Martha Graham,
Female trailblazer in choreography
Julia Cameron is considered one of the greatest portraitists in the history of photography.

Cameron was frequently condemned by contemporaries for "sloppy craftsmanship." However, she purposefully avoided perfect resolution, opting instead for a more constructed piece of directed light, soft focus, and long exposures, which allowed for a slight movement in the subject. This instilled an uncommon sense of breath and life in her images.

Her portrait style consisted of a close-up focus of the face and a strong contrast of dark background and dark dress against a subject's pale face.

The severe, unsmiling features are typical of the Victorian era since the exposure time then required for a photograph was several minutes, much too long to hold a smile.

Helen Frankenthaler once said, “There are no rules. Let the picture lead you where it must go.”

Frankenthaler took her own approach to abstract expressionism. Her method involved the pouring of diluted paints onto a canvas on the floor. This created a natural and dynamic look. Versus her contemporaries' use of heavy tediously repeated thick layers of paint.

Avante Guarde
Success did not come easily for Yayoi Kusama. She was raised in a deeply conservative time in Japan, where even the idea of becoming an artist, especially as a woman, would have taken a monumental amount of will on Kusama's part.

Her main theme in art is that of dots repetition, and obliteration from entrancing hallucinations she had as a child.

She is an artist entirely free from conventional standards. Kusama leads the art world with her innovative and experimental works as an activist, painter, sculptor, poet, exhibitionist, all the while living in a mental institution.

Not only was Kusama relevant to the past; she seemed to pave the way for 1990s art as well.

Helen Frankenthaler
Yayoi Kusama
Sir John Herschel
Herschel, a friend to Cameron, a Victorian scientist, was considered the equal to Sir Isaac Newton.
1867. Albumen silver print from glass negative. Metropolitan Museum of Art, New York City.
Mrs. Herbert Duckworth
This portrait of her niece, one of Cameron’s most famous images, is an enduring portrait of Victorian womanhood.
1867. Albumen silver print from glass negative. Metropolitan Museum of Art, New York City.
Jacob's Ladder
"The picture developed (bit by bit while I was working on it) into shapes symbolic of an exuberant figure and ladder."
1957. Oil on Canvas. Museum of Modern Art, New York City.
Mountains and Sea.
This painting was one of her first that followed a new approach to expressionism that had a unique watercolor like look to it.
1952. Oil on Canvas. National Gallery of Art, Washington.
Aftermath of Obliteration of Eternity
Kusama's representational infinity of life in a mirrored room.
2009. Mixed media installation. Gagosian Gallery.
Curated By: Stacy Facundo
One of Kusama's earlier works, that inspired her "infinity nets" style. One of which sold in 2008 for $5.1 million, a record for a living female artist.
1952. Ink on Paper Board. Museum of Modern Art, New York City.
Contemporary:Jackson Pollock
Influenced: Andy Warhol
Contemporary: Her father,Orazio Gentileschi
Contemporary: H. P. Robinson
Artist Painting a Portrait of a Musician, Marguerite Gerard 1803. oil
Babylonian Marriage Market, Edwin Long 1875. oil
Toilet of Venus, Diego Velazquez
1647-1651. oil
Mother and Child, Elizabeth Catlett 1944. lithograph
Woman Lying on
Leopard Skin,
Otto Dix 1927. oil and tempera
Eve, Anna Lea Merritt 1887. etching
Married Life, Roger de la Fresnaye
1913. oil
Venus, Andrei Belichenko
2011. oil
Dancer in Red, Fabian Perez Giclee 2010
Marilyn Monroe, Andy Warhol1967. silkscreen
Swimmer, Elizabeth Coats
2012, watercolor
Maternity, Mary Cassatt 1890. pastel
Farmer's Wife on a Stepladder. Pablo Picasso 1933. oil
Judith, Gustav Klimt 1901. oil
Intervention of the Sabine Women, Jaques-Louis David 1799. oil
We Can Do It (Rosie the Riveter) J. Howard Miller 1942. poster
The Toilet of Salome,
Aubrey Beardsley 1894. pen and ink
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