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Essay / Research Paper Abstract
A 7 page overview of nineteenth century female artists. The writer examines the obstacles that female artists had to overcome, the lack of opportunities, etc. and also profiles the work of Mary Cassatt and Rosa Bonheur. Bibliography lists 6 sources.
Page Count:
7 pages (~225 words per page)
File: D0_khvicart.rtf
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the handful of women who made names for themselves during this era. This is because the Victorian society of the nineteenth century, as with the majority of human history,
possessed societal structures and institutions that were geared toward keeping women in the "place," i.e. the domestic sphere of home, hearth and children. The public sphere, the area of society
where the production of goods and services, as well as creative endeavors, such as painting, music, and writing, were considered to be the province of men. Victorian men seemed convinced
that the whole fabric of Western civilization would come crashing down if women were allowed to enter into public life. Nevertheless, artistically talented nineteenth century women worked within their
society as best they could. In 1905, Leonce Benedite edited a book of essays on female artists, in which critics addressed art by women during the nineteenth century.
Benedite commented that women had extreme difficulty gaining any sort of art education in Europe, as the "regime of the Academies" continued in the same pattern set by the medieval
guild system, complete with restrictive rules that were not in "any degree profitable to womankind" (168). Linda Nochlin points out that from the Renaissance onward, The study of nude models
was considered to be an essential component of every young artist training. Some critics at that time actually argued that no great painting had clothed figures since "classical idealization" was
a component of great art (Nochlin 159). However, at the great art academies of the sixteenth and seventeenth centuries, life drawing was traditionally done by men doing drawings of
a male model. Female nudes were forbidden in all public art schools as late as 1850 (Nochlin 159); however, it was not unusual for male artists to use a "low"
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