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The Emergence of Women Painters in 17th and 18th Century Europe

Johann Zoffany, The Academicians of the Royal Academy
Johann Zoffany, The Academicians of the Royal Academy
Swiss Painter working in England, Done a few years after founding of an art academy in England 1768. Celebrating at last England founded an academy. Does a portrait of the academics of the Royal Academy, 2 member women, because male nudes in room, not appropriate for women to draw or be present. 2 women represented only in ephigagy in 2 portraits. Women faced many obstacles unable to receive normal artistic training an apprenticeship. Even if could overcome this obstacle still denied access to male nude.
Giorgio Vasari, Allegory of Painting, fresco
Rare to see a women engaged painting most women only daughters of painters
Claudius de cock, A sculptress in a Workshop, drawing
Shown with female sculpture but not realistic only 1 sculpture women in Italian Renaissance
Sofonisba Anguissola, Self Portrait at the easel , Bern
Sofonisba Anguissola, Self Portrait at the easel , Bern
Daughter of a noble man, a little training in music and painting thanks to her father liberal education was able to get artistic education. Tried to get her a job as a court artist a portraitst at spainsh court. Women produced self portraits 16-17th centuries at a higher rate than male contemparies, curosity of women to be an artist it was a marketing device marvel of painting and the women behind the painting.
Sofonisba Anguissola, Portrait of Isabella de Valois, Prado
Sofonisba Anguissola, Portrait of Isabella de Valois, Prado
1st artist to specialize in portraiture. For women it was okay because seen as social and uninventive. Court painter to Queen in Queens Apartments along line of women.
Lavinia Fontana, Self-Portrait in a Studio, Uffizi
Lavinia Fontana, Self-Portrait in a Studio, Uffizi
Representing as artist, wealthy lavish clothing, surrounded by books, statues educated humanist, high social and intellectual standing Fontana 1st women artist that we have a lot of prepartory drawings.
Fontana, Portrait of a noblewoman, Washington D.C.
Fontana, Portrait of a noblewoman, Washington D.C.
Wedding dresses red because most expensive fabric, wearing bridal crown, bolonese dog very expensive, dog symbol of fidelity but also marker of wealth and status, jewlery and rich dress signify wealth and social status.
Lavinia Fontana, Portrait of Tognina Gonzales, the hairy faced girl, blois
Tognina had rare skin disease that made her face all covered in hair, drawing maybe 2 inches high, painting holding up the condition she has. Collected natural curiosity
Lavinia Fontana, Portrait of Costanza Alidosi
Lavinia Fontana, Portrait of Costanza Alidosi
Pearls most expensive jewels, 2 pearl necklace over the top, rare full length portrait, jewelry gold bracelets on table, social and economical status of natural family and the family marrying into.
Artemisia Gentileschi, Susanna and the Elders, Pomersfelden
Artemisia Gentileschi, Susanna and the Elders, Pomersfelden
Old Testament subject, understood as a preconfiguration of Mary. Is devout and moral 2 elders spy on her in her garden. Use verbal cohersion to get her to have sex effectively death threat accusing of adultry. Susanna makes a different choice refuses to comply. Elders carry out threat. Young Daniel comes along and questions the elders and sees inconsistency and the elders are stoned to death. Vindicated in the end. Setting stri[s away sensors puts Susanna on stone ledge. Convey sense of resistance Emotion in face brow pursed turns head away putts hands up twisting away arms go in opposition.
Jacopo Tintoretto, Susanna and the Elders, Vienna
Jacopo Tintoretto, Susanna and the Elders, Vienna
Compositional focus on Susanna nude, light focused, looks more like venus goddess of love. Tintoretto not faithful to story. Setting in lush verdant sensuous garden scene.
Rachel Ruysch, Flowers and Insects, Pitti Palace
Rachel Ruysch, Flowers and Insects, Pitti Palace
Vigee-Lebrun, Portrait of Marie Antoinette
Vigee-Lebrun, Portrait of Marie Antoinette
Loves her appearance. One in the garden informal portrait.
Vigee-Lebrun, Portrait of Queen Marie Antoinette and her three children
Vigee-Lebrun, Portrait of Queen Marie Antoinette and her three children
French people saw her as extravagant. Meanwhile people in France were starving . 3 years after portrait made Virtuous mother of children died. Crib covered in black children just died. Principle function providing heirs to the throne.
Elisabeth Louise Vigee-Lebrun, Self- Portrait
Elisabeth Louise Vigee-Lebrun, Self- Portrait
Arguably the greatest women painter of the 18th century. Portraitist works for crowned heads of Europe begins in France works for artistic family all over the place international reputation. Produces quiet a number of self portraits. Young beautiful idealized, does not age, wears expensive color. Sometimes represented as a gentle women other celebrates activity as an artist.
Angelica Kauffmann, Self- Portrait hesitating between music and painting
Angelica Kauffmann, Self- Portrait hesitating between music and painting
One of the founding memebers of British Royal academy of arts. Hercules at the cross roads, path of virtue up mountainous path vice or music path
Angelica Kauffmann, Penelope at her loom
Angelica Kauffmann, Penelope at her loom
Wife of Odysess in Homers Odyssey. Waits countless years for husband to return. Ruler of Ithica ( many suitors) with loom tells that once finish will marry. But undoes the loom everyday.
Angelica Kauffmann, Praxiteles giving Phryne his statue of Cupid
Angelica Kauffmann, Praxiteles giving Phryne his statue of Cupid
Greek sculpture falls in love with women that pose for Aphrodite. Gives her his most famous sculpture the cupid.
Angelica Kauffmann, Cornelia presenting her children as her treasures
Angelica Kauffmann, Cornelia presenting her children as her treasures
Women shows off her beautiful jewels. Cornelia shows off children as the jewels. Neo-classical. Is an example or model of virtue. Drawn from greek and roman history and literature. Clothed her actors in in ancient Roman garb and posed them in statuquese attitudes within Roman interiors. The compostion and drawing have the simplicity and firmness of low relief carving.

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The Emergence of Women Painters in 17th and 18th Century Europe
Artscolumbia
Artscolumbia
Johann Zoffany, The Academicians of the Royal Academy
Johann Zoffany, The Academicians of the Royal Academy
Swiss Painter working in England, Done a few
2017-09-06 05:33:35
The Emergence of Women Painters in 17th and 18th Century Europe
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