DC -- Penn Qtr -- Natl Museum of Women in the Arts (1250 New York Ave NW):
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- Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
- NMWA_100509_060.JPG: "If it were customary to send little girls to school and to teach them the same subjects as are taught to boys, they would learn just as fully and would understand the subtleties of all arts and sciences."
-- Christine de Pisan, Cite de Dames, 1405
During the sixteenth and seventeenth centuries, art played an important role in European aristocratic and ecclesiastical society. Women were generally barred from professional training and practicing the most prestigious aspects of artistic production, such as working in fresco and painting historical subject matter. The majority of women artists were family members or spouses of successful male artists, from whom they acquired the skills and network to establish their own independent careers.
In addition to lack of training, women artists often had to work through their fathers or spouses to secure commissions and sign contracts. Despite these difficulties, women artists forcefully demonstrated that they were fully capable of becoming successful professional artists.
Many women artists flourished in Southern Europe, especially in Bologna, an Italian city famous for its progressive attitudes. Most women worked in family workshops, while some were able to secure individual commissions from private patrons. Nuns were active as artists during this time, directing the artistic production of their convents, decorating chapels, and creating small devotional works for sale.
Women artists from Northern Europe had some distinct advantages over their female counterparts in the south. In Italy, the Roman Catholic Church was the principal source of artistic commissions. In the increasingly Protestant north, patrols were mostly middle-class individuals eager to acquire art based on aspects of their everyday lives. In Northern Europe, women were able to become members of art guilds and contribute to the development of still-life and genre painting. These themes became so prominent that many Flemish and Dutch artists made a living by specializing in particular subcategories, such as breakfast pieces, dessert images, and flower paintings.
- NMWA_100509_064.JPG: Judith Leyster
The Concert, ca 1633
Along with tavern scenes and intimate domestic genre pieces, Judith Leyster-like her male contemporaries-was fond of musical subjects. In The Concert Leyster accurately depicts such elements as the Baroque violin (made without a chin rest and usually supported against the chest), plus the singer's songbook, held open on her lap.
The people depicted here are specific individuals, not generic figures. Based on similar persons in Leyster's other pictures, scholars have tentatively identified the singer as the artist herself, the violinist as her husband, and the lute player as a family friend. The members of the trio, like all musicians, must work together as a unit, "in concert," which has led some writers to theorize that this scene symbolizes the virtue of harmony.
Leyster frequently places her subjects against a plain, monochromatic background, with nothing to distract the viewer from the figures, who are all shown in the midst of various actions (bowing or plucking strings, beating time). The deep angle at which the lute is held adds depth to the composition, and the varied directions in which the musicians are looking offer viewers different points of focus.
- NMWA_100509_085.JPG: Louise Moillon
A Market Stall with a Young Woman Giving a Basket of Grapes to an Older Woman, ca 1630
- NMWA_100509_097.JPG: Elizabeth Gardner (Bouguereau)
The Shepherd David Triumphant, ca 1895
The Shepherd David is based on the biblical story (I Samuel 17:34) in which David proves his worthiness to fight Goliath by recounting that he fought wild beasts threatening his flock. Elizabeth Jane Gardner Bouguereau depicts a young David kneeling victoriously on a dead lion while clutching a lamb in the crook of his right arm. As he gazes to the heavens, he gesticulates upward with his left hand toward the source of his strength.
The monumental composition and David's pose reflect Bouguereau's familiarity with old-master paintings and classical sculpture. David's marble-like skin stands out against a background of muted blues and earth tones, further contributing to the otherworldliness of this representation. The polished surface of the work, which Bouguereau achieved with smooth, unbroken brush strokes, conveys the idea that this is a historic moment frozen in time.
Writing to her sister Maria in 1895 about this work, Bouguereau boasted that the painting would soon grace a full page in the art dealer Albert Goupil's publication listing the best pictures of the year. Gardner recognized that this work was not a "good paying investment," as it might be too "serious for ordinary tastes," perhaps better suited for a museum.
- NMWA_100509_108.JPG: Sarah Bernhardt
Apres la tempete (After the Storm), ca 1876
Après la tempête (After the Storm) depicts a Breton peasant woman cradling the body of her grandson who had been caught in a fisherman's nets. Sarah Bernhardt had seen this woman on the seashore and was moved by her story, which ended tragically with the death of the child. But in Bernhardt's sculpture the child's right hand grips the woman's garment, perhaps suggesting the possibility of a more hopeful ending.
The artist allegedly took anatomy lessons specifically to convey the intensity of the subject. Her ability to render textures from smooth skin to rough nets adds to the naturalism of the piece. Bernhardt's arrangement of the figures suggests her knowledge of works, such as Michelangelo's Pieta, in which the Virgin Mary supports the dead Christ on her lap.
When the large original plaster cast for this work was exhibited at the Salon in 1876, it won a silver medal. Two years later, the artist sold the rights to reproduce Après la tempête to the dealer Henri Gambard, who appears to have commissioned very few duplicates. The sculpture in NMWA's collection seems to be unique and may in fact be the one that was sold in the artist's estate sale in 1923, as no other marble versions are documented.
- NMWA_100509_116.JPG: "The chief obstacle to a woman's success is that she can never have a wife. Just reflect what a wife does for an artist."
-- Anna Massey Lea Merritt
During the nineteenth century, the number of American women artists pursuing professional careers in diverse media greatly increased, yet compared to their European counterparts there were relative few schools, public art museums, galleries, and art-related publications to accommodate them. In the early part of the century, women who succeeded professionally received training and support from their artistic families, as was true of Sarah Miriam Peale who came from an extended family of painters. Although by the end of the nineteenth century most of the important art schools and arts organizations in North America in principle accepted women, the percentage of female participants was still relatively small. Women established alternative venues for learning and intellectual discussion such as New York's Art Students League, founded in 1875, and private salons based on eighteenth century models.
At the same time, artists of both sexes in the United States had to struggle with the lack of exhibition space. It was nearly impossible for living American artists to have their work displayed in their own country, except at a few galleries. Hence American artists, particularly those from affluent families, including Cecilia Beaux, Mary Cassatt, Ellen Day Hale, Gabrielle de Veaux Clements, Anna Massey Lea Merritt, and Harriet Hosmer, migrated to Paris, London, and Rome at various times in their lives to study, exhibit, and reconnoiter with leading figures of the art world. At the Academic Julian and Academic Colarossi, women could work with the same respected masters under whom male artists studied. Others such as Jennie Augusta Brownscombe and Claude Raguet Hiest sought private tutelage in the United States and carved out careers by selling works to dedicated patrons, producing illustrations for books and magazines, and taking on female pupils, many of whom went on to establish their own careers as painters.
- NMWA_100509_117.JPG: Jennie Augusta Brownscombe
Love's Young Dream, 1887
One of Jennie Augusta Brownscombe's most popular paintings, Love's Young Dream celebrates life in a traditional, close-knit rural family. Brownscombe's ability to create a wealth of believable details adds to the strength of her narrative. A young woman stands on the middle step of her humble home, halfway between the interior (domestic) sphere where she has been living and the outside world she hopes to enter soon. She gazes longingly toward the road, where a man on horseback, presumably her romantic interest, approaches. Meanwhile, the gray-haired woman (presumably her mother) glances up from her knitting, her bemused expression registering fondness and concern and perhaps a warm memory of her own first love, while her partner busies himself with his book. Fallen leaves scattered about the yard identify the season as autumn, in an idyllic setting where cattle graze peacefully in the middle distance.
Compositionally, Brownscombe contrasts the right-hand side of the picture, where all three figures have been placed, with the left, where an unencumbered view of the landscape stretches back to the mist-shrouded hills. The predominant color scheme (black, browns, and grays) is relieved by a few well-placed spots of bright color, while the kitten adds a note of playfulness.
- NMWA_100509_124.JPG: Lilla Cabot Perry
Lady with a Bowl of Violets, ca 1910
Lady with a Bowl of Violets combines Lilla Cabot Perry's love of light-infused impressionist colors and bravura brushwork, plus her familiarity with Japanese aesthetics and her affinity for portraying young women within domestic interiors. Painted after the family's return from Tokyo, this canvas features a Japanese color woodblock print behind the sitter's head on one side and a simple floral arrangement on the other.1 Both print and flowers are cropped dramatically, in a manner reminiscent of traditional Japanese art; the curious and daring compositional emptiness of the left side of the picture derives from the same source.
Although the sitter's head is rendered in a relatively realistic manner, the rest of the canvas exhibits the loose, painterly brushwork favored by Perry and other impressionists. She manages to suggest the texture of the young woman's skin and the heavy white lace trim on her gown with just a few broad strokes of pigment. Even more radical are the vibrant orange highlights representing reflected light from the fireplace. As intriguing as Perry's technique and composition may be, the most affecting aspect of this painting is the mysterious, slightly melancholy expression on the young woman's face.
- NMWA_100509_134.JPG: Elisabeth Ney
Carrie Pease Graham, 1895
Elisabeth Ney was a celebrated sculptor and pioneer in the development of art in the state of Texas. A native German, she attended the Munich Academy of Art and then moved to Berlin to study under Christian Daniel Rauch. While in Berlin, she completed well-known busts of Arthur Schopenhauer, Giuseppe Garibaldi, and Otto von Bismarck. She moved to the United States with her husband, and eventually settled in Texas in 1873. After her death, her friends established the Texas Fine Arts Association in her honor. Her works follow a classical German style with an emphasis on realism and accurate scale.
- NMWA_100509_150.JPG: Antoinette-Cecile-Hortense Haudebourt-Lescot
Young Woman Seated in the Shade of a Tree, ca 1830
Antoine Cécile Hortense Haudebourt-Lescot ranks among the most versatile and prolific female artists of the early 19th century.
The artist received royal commissions, exhibited more than 110 works at the prestigious Paris Salons, and welcomed opportunities to paint on a large scale, as she did in Young Woman in the Shade of a Tree.
The large size of this canvas suggests that this work may have been destined for a museum. Although the identity of the sitter is unknown, the sheer size of the canvas and her dress suggest a woman of importance.
The landscape behind the sitter recalls Lescot's earlier paintings depicting peasant life in a bucolic Italy. Such images were part of a trend to portray an unspoiled past of innocence and simplicity. These qualities impart a sense of ease to this formidable portrait.
- NMWA_100509_162.JPG: Maria Oakey Dewing
Rose Garden, 1901
American painter, author, and amateur botanist Maria Oakey Dewing was a leading member of the New York and New England art scenes during the late nineteenth and early twentieth centuries. At the turn of the century, Dewing began spending summers at the Cornish, New Hampshire artists' colony. She became an avid gardener and perfected her flower painting, creating a unique middle ground between purely decorative flatness resembling Japanese art and the illusion of depth found in Western art. Dewing painted this tour de force during her last summer in Cornish. Like most of her works, Rose Garden presents a gardener's-eye perspective into a thicket of thin transparent petals and leathery leaves. Brilliantly executed, the cropped edges extend beyond the border of the canvas and give the viewer a sensation of being immersed among flowers.
- NMWA_100509_168.JPG: "My father, that enthusiastic apostle of humanity, many times reiterated to me that woman's mission was to elevate the human race, that she was the Messiah of future centuries. It is to his doctrines that I owe the great, noble ambition I have conceived for the sex which I proudly affirm to be mine, and whose independence I will support to my dying day..."
-- Rosa Bonheur
The nineteenth century ushered in radical social changes, affecting the lives of women on both sides of the Atlantic. The Industrial Revolution initiated explosive urbanization, a burgeoning middle class, advancements in medicine, growing support for women's suffrage, and new educational opportunities. Although women gained marginal admittance to professional academies in the 1860s, they were prohibited from studying the nude figure, a quintessential element for success in the most exalted art subjects -- history and mythology.
Femininity centered on the idea of a woman's sphere, concentrated on motherhood and domesticity. For the well educated woman, such as Jane Seymour Fortescue Coleridge, the art of drawing and watercolor were important skills to acquired, deemed necessary for one's family and social life. Women therefore painted subjects accessible through their immediate experience: genre scene, still life, and portraiture.
Some women were not content with these restrictive boundaries and consciously subverted traditional female roles. Rose Bonheur became the most celebrated animal painter of her time for her depictions of wild or working animals. Bonheur even wore men's clothing in order to sketch at horse fairs, slaughterhouses, and farms. In Paris, Louise Abbema achieves notoriety for her masculine military costume and flamboyant lifestyle in the circle of actress Sarah Bernhardt. But such transgressive acts were rare. Even after Elizabeth Adela Armstrong Forbes and her husband co-founded the innovation Newlyn Art School in 1899, she continuously struggled against the expectation that she would not work outside unchaperoned. As a result, Forbes turned her attention primarily to the socially accepted subject of children.
- NMWA_100509_178.JPG: Rosa Bonheur
The Highland Raid, 1860
"At one time Rosa Bonheur had a complete menagerie in her home: a lion and lioness, a stag, a wild sheep, a gazelle, horses, etc. One of her pets was a young lion whom she allowed to run about and often romped with…I was easier in mind when this leonine pet gave up the ghost." So wrote a close friend of Rosa Bonheur in recalling the artist's passion for animals.
Bonheur, known for her unconventional ambitions and conduct, received special dispensation from the police to wear trousers and a smock to visit butcher shops and slaughterhouses. It was in these gritty locales that she closely studied animal anatomy to prepare for her paintings.
Highland Raid epitomizes the artist's ability to capture the raw spirit of animals, such as these bulls and sheep whose thick wooly coats are typical of Highland livestock. The lowering sky suggests that the shepherds are trying to outrun the impending storm, driving the herd down the "raid," old Scottish for road.
- NMWA_100509_188.JPG: Jane Fortescue Seymour Coleridge
Self-portrait when Seventeen, 1842
Lady Jane Coleridge was a member of the Coleridge family, a prominent English family who made lasting intellectual, artistic, and literary contributions to the country's heritage. Coleridge exhibited fifteen works at the Royal Academy between 1864 and 1878. This self-portrait demonstrates a high level of skill by a woman who, though an amateur by definition, had obvious access to a level of training befitting her aristocratic background.
- NMWA_100509_200.JPG: Elizabeth Adela Armstrong Forbes
Will-o'-the-Wisp, ca 1900
Elizabeth Adela Armstrong Forbes based her painting Will-o'-the-Wisp on the symbolic poem The Fairies by Irish poet William Allingham. She depicts the story of Bridget, who was stolen by "wee folk" and brought to the mountains for seven years. Upon returning to her village, Bridget discovers that all of her friends are gone.
Set in autumn with bare trees silhouetted against a moonlit sky, the triptych's dark rocks, swirling mist, and eerie glow add to the mystical aura surrounding Bridget, the "stolen child…dead with sorrow…on a bed of flag leaves." In the left panel, little forest denizens, who in Irish legends often entice young girls with sensory pleasures, troop through the forest.
Will-o'-the-Wisp displays the tenets of the Newlyn Art School in its meticulous portrayal of natural detail. Yet the work's mythical world is characteristic of late Pre-Raphaelite paintings. So too is the elaborately hand-wrought oak frame, which incorporates sheets of copper embossed with intertwined tree branches. Lines from Allingham's poem inscribed on the frame allude to the centuries-old philosophical dialogue between the relative artistic merits of painting versus poetry.
- NMWA_100509_213.JPG: Jane Peterson
London Bridge, n.d.
Renowned for her colorful illustrations of American parks, beaches, and city streets, Peterson solidified her reputation as a leading New York artist after studying at the Pratt Institute under the direction of Impressionist painter Frank Vincent Du Mond. In 1907, she traveled to Europe, studying in France, Spain, and England where she executed London Bridge. Although more muted in palette than her typically vibrant canvases, Peterson's broad strokes and loose application of paint exemplify her signature brushwork.
- NMWA_100509_220.JPG: Martha Walter
Bathing Hour, ca 1915
- NMWA_100509_227.JPG: Louise Abbema
A Game of Croquet, 1872
- NMWA_100509_232.JPG: Helen Turner
On My Porch, n.d.
Referred to as an "American Impressionist," Helen Turner absorbed many of the artistic characteristics of French Impressionism in her work, combining them with a naturalistic modeling of figures and space. The artist is best known for her portraits of people in their own homes and women in gardens.
- NMWA_100509_239.JPG: Marie Danforth Page
Her Littlest One, 1914
Marie Danforth Page established herself as one of Boston's most successful portraitists from 1900 until her death [in 1940], and her practice has been used as a business model for following generations of women artists. Her Littlest One is from a period in which Page executed a number of noncommissioned mother-and-child paintings that show the influence of Mary Cassatt on the artist. The painting has the dark tones of Page's later work and combined her unique interpretation of impressionism and seventeenth century Flemish art.
- NMWA_100509_246.JPG: "One day seven years ago I found myself saying to myself, "I can't live where I want to... I can't go where I want to go... I can't do what I want to... I can't even say what I want to..." I decided I was a very stupid fool not to at least paint as I wanted to."
-- Georgia O'Keeffe, 1923
The first half of the twentieth century saw great technological, philosophical, and artistic changes. The airplane and the automobile, Marie Curie's discovery of radium, Sigmund Freud's psychoanalysis, the Great Depression, and World War I altered the way people experienced the world around them. A modern notion of femininity emerged as well in the "New Woman," who was non-conformist in both appearance and attitude.
The art world experienced upheaval as the academy system declined and a wealth of new styles came to the fore. In both Europe and America, women still faced opposition from the art establishment. They circumvented conventional paths to success as founders of alternative art institutions, activists in political organizations, and participants in government-based art projects. Salons (private art gatherings) run by wealthy female patrons also provided a community that promoted women artists.
European and American women played an integral role in the development of the first modern art "isms" -- fauvism, expressionism, cubism, dadaism, and surrealism -- that emerged rapidly in the first four decades of the twentieth century. Women artists were excited by the expressive potential of those styles. Many incorporated ambiguous perspectives, intense colors, and flattened planes in their works, while others took the more radical step of creating entire abstract images. Women felt free to treat the subject of the nude figure (which was previously taboo for them) and develop their own approach to traditional subject matter such as landscapes, still life, and portraiture.
- NMWA_100509_251.JPG: Suzanne Valadon
Bouquet of Flowers in an Empire Vase, 1920
- NMWA_100509_259.JPG: Lois Mailou Jones
Africa, 1935
In 1934, while attending a summer session at Columbia University in New York, Jones experienced the cultural life of Harlem and began studying the African masks that are central to her best-known paintings. Jones and other artists participating the Harlem Renaissance often used African art motifs to explore the roots of twentieth-century African American experience and express a strong sense of racial pride. Jones lived in Washington, DC for much of her life and taught at Howard University for nearly 50 years.
- NMWA_100509_267.JPG: Alice Bailly
Self-Portrait, 1917
Aside from the figure's three-quarter-turn pose, this painting presents an avant-garde version of the traditional artist's self-portrait. Through her training and travels, Alice Bailly became attuned to many vital European art movements of the early 20th century. Her apartment in Geneva was a popular meeting place for artists, poets, and musicians, but she did not identify with any particular movement. Her painting style is an amalgam of many approaches.
Her self-portrait's red, orange, and blue hues echo the palette of Fauve paintings. (In 1906, when she entered a canvas depicting a mother and child in Paris's Salon d'Automne, organizers hung it in the Fauve section.) The arching lines forming her hands and arms echo Italian Futurist art.
Bailly embraced the insouciance of Dada in this portrait by carefully delineating her breasts, the buttons of her jacket, and her signature bob haircut while painting out the entire right side of her face. As she did with her contemporaneous stitched-wool works, Bailly painted intuitively and additively. She paired dissonant colors, conjoined geometric and organic shapes, and juxtaposed cleanly outlined forms with choppily brushed passages of paint to form highly dynamic images.
- NMWA_100509_275.JPG: Frida Kahlo
Self-Portrait Dedicated to Leon Trotsky, 1937
Like many paintings by Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky focuses on a particular event in the artist's life. It commemorates the brief affair Kahlo had with the exiled Russian revolutionary leader Leon Trotsky shortly after his arrival in Mexico in 1937. In this painting, she presents herself elegantly clothed in a long embroidered skirt, fringed shawl, and delicate gold jewelry. Flowers and coils of red yarn adorn her hair and adroitly applied makeup highlights her features. Poised and confident in her stage-like setting, Kahlo holds a bouquet of flowers and a letter of dedication to Trotsky that states, "with all my love." Interestingly, Clare Boothe Luce, the American playwright, socialite, and U.S. Congresswoman, donated Self-Portrait Dedicated to Leon Trotsky to NMWA in 1988.
Kahlo, like many Mexican artists working after the Revolutionary decade that began in 1910, was influenced in her art and life by the nationalistic fervor known as Mexicanidad. The artists involved in this movement rejected European influences and favored a return to the country's native roots and folk traditions. Kahlo often wore the distinctive clothing of the Tehuantepec women in southwest Mexico; she also looked to pre-Columbian art and Mexican folk art for forms and symbols in her paintings. The compositional elements of the stage and curtains, for example, draw upon Mexican vernacular paintings called retablos, devotional images of the Virgin or Christian saints painted on tin, which Kahlo collected.
- NMWA_100509_287.JPG: Marguerite Thompson Zorach
Nude Reclining, 1922
In 1908, Zorach attended the Salon d'Automne in Paris, where French fauve artists Henri Matisse and Andre Derain exhibited their bold paintings with simplified shapes and intense colors. Zorach enrolled in the progressive art school, La Palette, in Paris and became one of the first American modernists to work in the fauve and cubist styles. She was also one of the few women included in the 1913 Armory Show in New York, a watershed exhibition of modern art in America.
- NMWA_100509_292.JPG: Helen Farr Sloan
Untitled, n.d.
- NMWA_100509_297.JPG: Alice Beard
At the Flower Market, ca 1912
- NMWA_100509_309.JPG: Barbara Hepworth
Merryn, 1962
Merryn does not directly depict the seaside village near Cornwall, England, after which it is titled. The sinuous curves of the stone signify both the rolling Cornish landscape and the outline of a human figure moving through it. The hole piercing the center represents a fluid melding of the two.
Barbara Hepworth observed: "For me, the whole art of sculpture is the fusion of these two elements -- the balance of sensation and the evocation of man in his universe." Hepworth evolved her upright abstract forms prior to moving to Cornwall, yet her sculptures resemble ancient stone markers (sometimes called dolmens) that dot the Cornish countryside.
Hepworth and her art school classmate Henry Moore were among the first modern British sculptors to create works through direct carving of stone or wood. Prior to the 20th century, artists typically made small models in clay and hired artisans to reproduce the model in marble or bronze.
In the 1930s, Hepworth was also the first modern artist to pierce carved sculptures as an evocative formal device. Hepworth and other direct carvers demonstrated both a technical virtuosity and a sensitivity to the intrinsic nature of materials.
- NMWA_100509_320.JPG: Remedios Varo
Fenomeno de ingravidez (Phenomenon of Weightlessness), 1963
- NMWA_100509_332.JPG: Leonora Carrington
How Doth the Little Crocodile..., 1998
- NMWA_100509_340.JPG: Dorothy Dehner
Looking North F, 1964
This sculpture was inspired by the view from Dehner's studio at 41 Union Square in New York City. Its shapes recall buildings, traffic lights, and the rapid movement that characterizes a busy urban neighborhood. For nearly three decades -- and throughout her marriage to abstract expressionist sculptor David Smith -- Dehner painted naturalistic images. After creating her first abstract sculpture in the 1950s, she developed a style that emphasized clean contours and precise patterns over mass.
- NMWA_100509_349.JPG: "This is so good, you would not know it was painted by a woman."
-- Hans Hofmann about his student Lee Krasner, around 1937
World War II's devastation prompted American artists to turn away from European visual culture as a primary source of inspiration. Many artists also abandoned naturalistic styles of representation because they depicted an outside world that now seemed chaotic and senseless. Strongly influenced by European existentialist philosophy, artists began to question the essential relevance of humankind. In the late 1940s, abstract expressionism emerged, embodying these concerns and declaring American artistic independence from Europe.
Abstract expressionism was informed by three important modern art styles that preceded it: abstraction, which emphasized a non-representational approach to shape and color; expressionism, which centered on the emotions of both the artist and viewer; and surrealism, which focused on the exploration of the psychological unconscious. In painting, abstract expressionism was characterized by gestural brushwork, an all-over composition, and large-scale canvases that fill the viewer's visual space. Sculpture incorporated dynamic shapes and varied surface textures.
Among critics and in the popular press, abstract expressionism was associated primarily with artists such as Jackson Pollack and David Smith, who were viewed as mythical American male heroes: virile, strong, and defiant toward tradition. This perception led some women artists to sign their works with their initials or even male pseudonyms. Women expanded abstract expressionism's vocabulary by more frequently incorporating references to the landscape. They used nature and other aspects of their autobiographies to create works that are intensely introspective -- and even spiritual forms of self-expression.
- NMWA_100509_352.JPG: Elaine de Kooning
Bacchus #3, 1978
- NMWA_100509_360.JPG: Grace Hartigan
December Second, 1959
"My art was always about something," Hartigan has observed about her abstract images. The title of this work (the date on which it was executed) is evocative, suggesting that it may be a response to her experiences that day. Hartigan bisected the composition with a rough horizon line, possibly an allusion to landscape, a subject popular with other New York abstract expressionists in the 1950s.
- NMWA_100509_368.JPG: Nell Blaine
Troubadours, ca 1955
- NMWA_100509_379.JPG: Helen Frankenthaler
Spiritualist, 1973
Second-generation Abstract Expressionist Helen Frankenthaler made stain paintings like Spiritualist by pouring thinned pigment onto an unstretched canvas spread on her studio floor. The paint soaked into the raw fibers of the untreated canvas, literally staining the fabric. Like other Abstract Expressionists, Frankenthaler created large-scale paintings that were affected by chance. She let her colors flow freely into shapes, manipulating them only minimally with her brush or fingers. Frankenthaler distinguished herself from her Abstract Expressionist counterparts by using a lighter palette and trading emotional intensity for a calmer, often lyrical mood.
In works like Spiritualist, the play of overlapping colors and forms creates a sense of visual space. But the weave of the canvas is always visible, which creates a tension between surface and depth. Frankenthaler reintroduced short, curving black lines, like those at the right side of Spiritualist, into her work in the early 1970s. Some scholars have attributed these lines and her move toward further abstraction to major changes in her life: a new studio, the release of the first major book on her work, and her divorce from artist Robert Motherwell.
- NMWA_100509_385.JPG: Alma Thomas
Iris, Tulips, Jonquils and Crocuses, 1969
Alma Woodsey Thomas developed her signature abstract painting style in her late 70s, after spending more than three decades teaching art in a Washington, D.C., junior high school. Characterized by brightly colored, lozenge-shaped brushstrokes arranged in long bands or dense, puzzle-like patterns, the style broke significantly with Thomas's earlier realistic paintings. For all their apparent spontaneity, paintings like Iris, Tulips, Jonquils, and Crocuses reflect deliberate planning by Thomas. She often created watercolor sketches and used free-hand pencil marks on the canvas as a guide, some of which are still visible.
Thomas knew of her contemporaries Morris Louis, Kenneth Noland, and Sam Gilliam who formed the Washington Color School movement, and they shared her interest in the optical effects of color. Yet Thomas's paintings are distinct in that they were inspired, shaped, and continually refreshed by her direct experience of nature. She studied the hues, patterns, and movement of trees and flowers in her yard and Washington area parks. She was also fascinated by the U.S. space program's Apollo lunar missions, which presented new paradigms of space and depth that Thomas interpreted in her paintings.
- NMWA_100509_393.JPG: Alma Woodsey Thomas
Orion, 1973
- NMWA_100509_399.JPG: Magdalena Abakanowicz
4 Seated Figures, 2002
Magdalena Abakanowicz's 4 Seated Figures blends her personal memories with her broader vision of a modern world shaped by war and political upheaval. Both headless and handless, these figures reflect the artist's direct experience -- she witnessed her mother being shot in the hands as soldiers stormed their home in Poland during World War II. Abakanowicz noted, however, that the figures are genderless and do not suggest any particular race: "They are naked, exposed, and vulnerable, just as we all are."
Abakanowicz was a leader in the international fiber-art movement that began in the 1960s. She became renowned for her innovative, off-loom sculptural techniques using rope, burlap, string, or cotton gauze. Abakanowicz created 4 Seated Figures from plaster molds of human models she had made in the late 1970s. Pressing burlap soaked with resin and glue into the molds, she shaped each figure individually. With a texture resembling tree bark, they appear to have been stripped of skin, revealing muscles, arteries, or cords suggestive of the nervous system.
- NMWA_100509_412.JPG: "The personal is political."
-- The Redstocking feminist group, Denmark, 1969-70
Visual art in the 1970s reflected the dramatic political and cultural shifts that were occurring worldwide. In the United States, the Vietnam War, the Civil Rights and Women's Movements, and growing concern for the environment presented serious challenges to mainstream values. Within this political atmosphere, feminism had a significant impact on the lives of women artists and their work. Feminist artists and activists protested the unequal representation of women in museums, galleries, and publications. Colleges and universities responded by introducing women's studies curricula and feminist art history classes.
Seeking an essential type of imagery that could form the core of feminist art, some artists created abstracted symbols that reference the female sexual body. Artists worldwide developed a broader scope for feminist art, mirroring the movement's larger goals to validate all of women's experiences. Feminist artists worked in traditional fine art media such as painting and sculpture, but they also attained critical recognition for weaving, sewing, and assemblage, processes that had previously been classified as handicrafts. Feminist artists were also proponents for experimental art forms such as performance, video, and installation art.
Feminist art put great emphasis on subjective experience, and content often reflected artists' sexuality and body image, their personal experiences within both the domestic and professional spheres, and their critiques of popular culture. Much feminist art was also representational, setting it apart from the abstract styles that were critically popular in the 1950s and 60s. Indeed, some critics have credited feminist art with reintroducing figuration as a valid option for artists to pursue in the late twentieth century.
- NMWA_100509_416.JPG: Hollis Sigler
Good Time Just Passing Through, 1983
- NMWA_100509_423.JPG: May Stevens
SoHo Women Artists, 1978
Directly involved with the 1970s feminist art movement in New York, May Stevens created this contemporary version of an academic history painting.
Traditional western history paintings present scenes from classical or Christian history and typically exclude female figures. SoHo Women Artists is part of a series of historically-styled works that Stevens created to recognize women artists and call for the inclusion of women in art history, a cause catalyzed by the provocative 1971 ArtNews article entitled, "Why have there been no great women artists?"
Stevens's painting highlights her devotion to the collective work of the Heresies activist group that she helped found as well as her preference for narratives that resonate with her personally. "The stories are anecdotes about events. And they're selected because they mean something to me," she notes.
Stevens composed this work from photographs of friends who helped shape the feminist art revolution from their New York City neighborhood. Arranged in a frieze-like composition are (left to right): Signora d'Apolito, owner of a bakery; two men from SoHo's Italian-American community; May Stevens; fellow Heresies artists Harmony Hammond, Joyce Kozloff (sitting with her son Nikolas), and Marty Pottenger; artist Louise Bourgeois, in one of her wearable sculptures; artist Miriam Schapiro and critic Lucy Lippard, also Heresies members; and artist Sarah Charlesworth.
- NMWA_100509_439.JPG: Lynda Benglis
Eridanus, 1984
Lynda Benglis first came to art world attention in the late 1960s with tactile, sensual works that were strikingly different from the period's prevailing Minimalism. Eridanus, titled after a river in Greek mythology, is part of a sculpture series that Benglis began in 1972. The earliest of these "knot" sculptures were made of plaster-coated chicken wire covered with paint and glitter.
By the 1980s, Benglis embraced a sleeker aesthetic, plating corrugated steel or aluminum wire infrastructures with layers of nickel, zinc, copper, and chrome. These sculptures offer the masterful illusion that metal has been effortlessly pleated, rolled, twisted, or tied as though made of fabric. In Benglis's hands, heavy becomes light, and hard becomes soft.
Benglis's art is often interpreted within a feminist context. Her focus on decorative forms and occasional use of craft-type materials represent her interest in redefining mainstream perceptions about femininity. In her knot sculptures, Benglis used metal -- a material associated with 1960s and '70s Minimalist sculpture, which was created almost exclusively by male artists. She manipulated the medium to create forms reminiscent of elements of women's clothing, such as bows, bustles, ruffles, and fans.
- NMWA_100509_450.JPG: Valerie Jaudon
Ace in the Hole, 2000
- NMWA_100509_458.JPG: Jane Hammond
Wonderful You, 1995
In this painting shaped like a Renaissance-era altarpiece, Hammond superimposed the image of her own face onto sacred figures (Buddha and St. Sebastian) as well as secular characters such as Superman and Mickey Mouse. By combining familiar but seemingly unrelated figures, Hammond invites viewers to determine the meaning of the work. She notes: "I'm very interested in calling up the associative aspects of thinking itself, so that this painting before you in the here and now is also tapping into your memory bank."
- NMWA_100509_489.JPG: Pat Steir
Waterfall of a Misty Dawn, 1990
In her series of Waterfall paintings, Steir modified the splatter and drip techniques of abstract expressionist artists to create starkly beautiful images reminiscent of historical Asian landscape paintings. Steir formed the rivulets of paint in this work by diluting pigment, applying it to the top edge of the canvas, and using both skill and chance to guide the liquid down the length of the painting's surface.
- NMWA_100509_496.JPG: "Abuse of power comes as no surprise... Analyze history... Question authority... Raise boys and girls the same way."
-- Jenny Holzer, Truisms, 1983-87
"The function of art is to do more than tell it like it is -- it's to imagine what is possible."
-- bell hooks, 1994
Since the 1980s, video, sound art, body art, and site-specific sculptures have supplemented more traditional art forms. The increasingly wide range of subjects within contemporary art reflects globalization as do the galleries, international art fairs, and auctions that feature works by female and male artists from all parts of the world.
The 1980s marked the beginning of postmodernism, an aesthetic that views images and concepts as fluid and multivalent. Postmodernism responds, in part, to the pervasiveness of electronic and digital media, which allows art and information to be transmitted and interpreted almost instantaneously. One postmodern art style is appropriation, in which artists borrow or adapt images from mass media or past art and present them in new contexts to encourage a new reading. Similarly, some contemporary artists question the notions of authenticity and originality in art. Many create multiples (works of art produced in quantity) to make their art more accessible and mirror the production and marketing processes of consumer culture.
Along with their male counterparts, contemporary women artists have extended the boundaries that define fire art. Today, we no longer need to ask, "Why Have There Been No Great Women Artists?" as art historian Linda Nochlin did in her groundbreaking 1971 article. The question for this new millennium is, "What must we do to ensure that women artists maintain their rightful place in the global art world?"
- NMWA_100509_501.JPG: Judy Chicago
Queen Victoria (from the Great Ladies series), 1972
- NMWA_100509_510.JPG: Emily Kngwarreye
Yam Story '96, 1996
Emily Kame Kngwarreye painted expressive representations of the Dreaming, the English word used to describe the Australian Aboriginal cosmology, which includes narratives about ancestral spirits who created the universe. Like other contemporary painters, Kngwarreye developed an abstract visual language that alludes to these narratives. Many of her works reference the wild yam (kame) Dreaming of which she was a senior custodian within her community's kinship structure. The web of lines in this painting may represent paths trod by ancestors, natural or spiritual forces, or the twining vine of the wild yam plant.
In the 1970s, many Australian Aboriginal artists were inspired to make fabrics and paintings related to the Dreamings as part of the Land Rights' Movement through which they sought to reclaim traditional homelands and sustain their culture. Kngwarreye and other women artists worked together in groups and became dynamic forces in the Aboriginal art community. Kngwarreye's paintings are renowned for their moody, atmospheric appearance. She developed -- and often combined -- several abstract formats including layered dots, parallel or interlacing lines, and fan-shaped daubs in her favored palette of red, pink, and orange.
- NMWA_100509_522.JPG: Chakaia Booker
Acid Rain, 2001
Acid Rain comprises recycled rubber tires and tubing that Chakaia Booker has sliced, stripped, woven, twisted, and riveted into an expressive tableau. Her sculpture highlights the allusive power of her assemblage technique, intertwining the traditionally domestic, feminine pursuits of weaving and handiwork with industrial technology, using saws and drills to work with her unwieldy medium.
Their relationship to technology and prior function as a means of mobility makes tires apt metaphors for our post-modern world's fixation on progress and connectivity. Booker notes: "Acid Rain symbolizes both the destruction and the creative possibilities of our interaction with the environment. Old, worn-out tires that are recycled symbolize opposing energies that are being resolved into new works of beauty."
Although her sculptures express a dynamic energy, Booker meticulously plans her works. Acid Rain weighs more than 2,000 pounds; structurally, it is formed from 12 wall-mounted sections that join seamlessly. To devise her larger sculptures, Booker uses computer-aided design software, creates detailed models, and constructs armatures from pressure-treated wood and steel rods.
- NMWA_100509_544.JPG: Nancy Graves
Rheo, 1975
- NMWA_100509_550.JPG: Louise Nevelson
White Column (from "Dawn's Wedding Feast"), 1959
Louise Nevelson created White Column as part of her groundbreaking sculpture installation entitled Dawn's Wedding Feast. In a 1959 exhibition at the Museum of Modern Art in New York about trends in American art after abstract expressionism, the installation filled a 14 x 24 x 22-foot space.
Indivisible abstract wood sculptures represented a bride and groom, their guests, a wedding chest, pillow, and cake, and architectural elements suggesting the walls and columns of chapels. The sculptures composing Dawn's Wedding Feast were subsequently dispersed into many collections, but the work established Nevelson as a pioneer of sculpture installations.
Inspired by Cubist art, Nevelson began making assemblages in the 1940s from wood that she salvaged, assembled, and painted a single color. Until creating Dawn's Wedding Feast, Nevelson had used black paint almost exclusively to create works that embody themes of royalty, marriage, and celestial bodies.
The color black gave the sculptures a sense of gravity or monumentality. The white hue that Nevelson selected for Dawn's Wedding Feast signaled a more serene viewpoint for the artist, despite her own marital and familial trials at the time. She noted: "For me, the black contains the silhouette, the essence of the universe. But the whites move out a little bit into outer space with more freedom."
- NMWA_100509_565.JPG: Harmony Hammond
Hunkertime, 1979-1980
The stepped forms in this work "hunker" together, leaning on each other in a manner that suggests community and dialogue, which Hammond considers vital to feminist practice. When she first made this type of sculpture in the early 1970s, Hammond bound the wood frames with old clothes and rags she had gathered from friends. She notes: "It meant that I was literally putting all these women in the work."
- NMWA_100509_573.JPG: Charmion von Wiegand
Advancing Magic Squares, ca 1958
- NMWA_100509_578.JPG: Joan Mitchell
Orange, 1981
- NMWA_100509_586.JPG: Judith Godwin
Epic, 1959
- NMWA_100509_594.JPG: Elizabeth Turk
Wing 5, 1998
- Wikipedia Description: National Museum of Women in the Arts
From Wikipedia, the free encyclopedia
The National Museum of Women in the Arts (NMWA), located in Washington, D.C. is the only museum solely dedicated to celebrating women’s achievements in the visual, performing, and literary arts. NMWA was incorporated in 1981 by Wallace and Wilhelmina Holladay. Since opening its doors in 1987, the museum has acquired a collection of more than 3,500 paintings, sculptures, works on paper and decorative art.
History:
While traveling abroad, Mr. and Mrs. Holladay admired a 17th-century still-life by Flemish painter Clara Peeters. The Holladays later sought information on Peeters, yet the definitive college art history text (H.W. Janson’s History of Art) failed to include Peeters, or any other female artist. The Holladays then decided to make works by women the basis for their art collection, which later would become the core of NMWA’s permanent collection.
Building:
In 1983, NMWA purchased a landmark 78,810 sq ft (7322 m²) former Masonic temple to house its works. Initially drafted by architect Waddy B. Wood, the main building was completed in 1908 and the original structure is on the D.C. Inventory List of Historic Sites as well as the National Register of Historic Places. After extensive renovations, the museum opened to the public April 7, 1987. The Elizabeth A. Kasser Wing opened November 8, 1997 making the entire facility 84,110 sq ft (7814 m²).
Wilhelmina Cole Holladay:
Wilhelmina Cole Holladay is the founder and chair of the Board of the National Museum of Women in the Arts. Since her discovery that women artists have historically been omitted from collegiate art history texts, Wilhelmina Cole Holladay has made it her mission to bring to the forefront the accomplishments of women through collecting, exhibiting and researching women artists of all nationalities and time periods.
Holladay created individual committees of over 1,000 volunteers from 27 states and 7 countries, to give educational opportunities to children through collaborations with schools and other community groups (e.g. Girl Scouts of the USA), as well as provided opportunities for adults to participate and encourage art in local communities across the globe.
Wilhelmina Cole Holladay’s interest in art was sparked as a student at Elmira College in New York, where she studied art history, followed by graduate work at the University of Paris. She is listed in Who’s Who of American Women, Who’s Who in American Art, Who’s Who in the World, and she holds many honorary degrees and achievement awards for her work in the arts community. In 2006 she received the National Medal of Arts from the United States and the Légion d'honneur from the French government. In 2007 Holladay received the Gold Medal for the Arts from the National Arts Club in New York City.
Collection and exhibitions:
Beginning in 1987 with American Women Artists, 1830-1930, NMWA has presented more than 200 exhibitions which include: Julie Taymor: Playing With Fire: Nov. 16, 2000–Feb. 4, 2001, Grandma Moses in the 21st Century: March 15, 2001–June 10, 2001, Places of Their Own: Emily Carr, Georgia O'Keeffe, and Frida Kahlo: Feb. 8, 2002–May 12, 2002, An Imperial Collection: Women Artists from the State Hermitage Museum: Feb. 14, 2003–June 18, 2003, Nordic Cool: Hot Women Designers: Apr. 23, 2004–Sept. 12, 2004, Berthe Morisot: An Impressionist and Her Circle: Jan. 14, 2005–May 8, 2005, Alice Neel’s Women: Oct. 28, 2005–Jan. 15, 2006, Divine and Human: Women in Ancient Mexico and Peru: March 3, 2006–May 28, 2006, and Dreaming Their Way: Australian Aboriginal Women: June 30, 2006–Sept. 24, 2006.
The permanent collection currently contains works by nearly 1,000 artists. Among the earliest works is Lavinia Fontana’s Portrait of a Noblewoman, ca. 1580. Other artists represented include: Magdalena Abakanowicz, Louise Bourgeois, Lola Alvarez Bravo, Rosalba Carriera, Mary Cassatt, Elizabeth Catlett, Louisa Courtauld, Petah Coyne, Louise Dahl-Wolfe, Elaine de Kooning, Lesley Dill, Helen Frankenthaler, Marguerite Gérard, Nan Goldin, Nancy Graves, Grace Hartigan, Frida Kahlo, Angelica Kauffman, Käthe Kollwitz, Lee Krasner, Marie Laurencin, Judith Leyster, Maria Martinez, Maria Sibylla Merian, Joan Mitchell, Gabriele Münter, Elizabeth Murray, Alice Neel, Louise Nevelson, Georgia O’Keeffe, Sarah Miriam Peale, Clara Peeters, Lilla Cabot Perry, Jaune Quick-to-See Smith, Rachel Ruysch, Elisabetta Sirani, Joan Snyder, Lilly Martin Spencer, Alma Thomas, Suzanne Valadon, Chakaia Booker, and Elisabeth Louisa Vigée-Lebrun.
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