Perspectives on women & the arts

Representational practices and feminist theories of art

Perspectives on Women & the Arts

Historical Options: Madonna (Virgin)

Madonna in Her ChamberJan van Eyck , 1390-1440 c.1435-36

Madonna and Child with Saint John the BaptistSandro Botticelli (1444 or 1445-1510) c. 1468

Historical Options: Object of Desire (Whore)

Venus of Urbino

Titian

1538

The Grand Odalisque

Jean-Auguste-Dominique Ingres

1814

Historical Options: Object of Desire (Whore)

OlympiaEdouard Manet1863-1865

Te Arii vahine (King's Wife)Paul Gauguin1896

Biblical Scenes: Male ArtistJudith Beheading HolofernesMichelangelo Merisi da Caravaggioc. 1597-98

Judith with the Head of HolofernesPeter Paul Rubensc. 1616

Biblical Scenes: Female ArtistJudith and HolofernesArtemisia Gentileschicirca 1620

------------------Why are there no great women artists?One feminist response: “Dig up examples of worthy or insufficiently appreciated women artists throughout history” (Nochlin 230).

How does Gentileschi’s version differ from the male artists? What does Kraft have to say about this work?

Distinctive Feminine Style/Media

Penelope at Her LoomTapestry--Flanders (Belgium)--15th C. A.D Women employees -------------------“Different kind of greatness for women’s art than for men’s” (Nochlin 230).

Women commonly worked on tapestries and pottery—media that are often less valued as “art” than paintings or sculptures from the same period.

Pottery as “Craft” not “Art”Storage jarUnited States, Arizona, ...c. 1125-1200

JarGladys Paquin1994

Creating “Art” from “Craft”Detail, Wing 3 of The Dinner PartyJudy Chicago1974-79

Snake Goddess place settingJudy Chicago1979

Definitions and Innovation“Stylistic originality is not found in any

work per se” (Kraft 12).Why does Kraft believe this?“One must know to what tradition it

belongs and how it is connected in time to the elements of tradition. … Stylistic originality is, then, an attribute added to a work of art from other information, not one derived from it” (12).

How does this conflict with feminist definitions of art, for Kraft?

Example 1: LichtensteinBlamRoy Lichtenstein1962

Nude RecliningRoy Lichtenstein1994

Example 2: Krasner & PollockUntitledLee Krasner1949

White LightJackson Pollock1954

Example 3: WarholBrillo Box (Soap Pads)Andy Warhol1964-----------------------“The determination of stylistic originality can only be made by knowing something about the background of a work, which is the historical circumstances of its creation” (Kraft 12).

Where does this leave us?

•What conclusions do Kraft and Nochlin come to in their articles on women’s art or feminist art? •How do their conclusions combine or conflict with your own definition of art? •Keep these considerations in mind when writing your introductory paper AND think about them in relation to music and literature as well, as we move on this semester.