Women artists

Women artists are women whose artistic work has historically been thwarted or undervalued by patriarchy, gender stereotypes, and lack of access to education, professional networks, and exhibition opportunities. Quotes By the mid-seventeenth century, depictions of landscapes, animals, and plants had officially been declassed to the status of inferior art genres, deemed decorative, even frivolous—lacking the conceptual depth, moral integrity, and ethical elevation of art portraying grandiose human narratives. ... Or at least that was the case until aspiring female artists like Maria Moninckx, Johanna Helena Herolt, Helena Scott Helena Forde, Berthe Hoola van Nooten, Barbara Regina Dietzsch, Lise Cloquet, Rachel Ruysch, Maria van Oosterwijck, Frances Elizabeth Tripp, Augusta Innes Withers, and Lydia Byam, among others, turned to painting plants and flowers, spearheading an unparalleled botanical revolution in Western art. Initiating an unwavering, albeit gradual, ascent in the arts and in society, these women artists made the most of what was available to them to showcase their aptitudes, talent, and conceptual acumen. Giovanni Aloi, Botanical Revolutions: How Plants Changed the Course of Art Los Angeles Getty Publications 2025 9781606069479 https://books.google.com/books?id=xLpAEQAAQBAJ&pg=PA94 94–96 (224 pages; 1st edition 1924) The work of women artists, which often transgresses the racial, ethnic, and gender dictates of society, asks us to consider the ambiguous boundary between self and other not with horror and fear—a convention of exclusion on which much of society is founded—but as offering an opening onto a new form of Identity formation identity construction. Catherine de Zegher, Women Artists at the Millennium MIT Press 2011 9780262515948 Introduction https://books.google.com/books?id=5LdNEAAAQBAJ&pg=PR16 xv–xx (472 pages; 1st edition 2006; edited by Carol Armstrong & Catherine de Zegher; quote from p. xvi) We know little of the practice of the arts by women in ancient times. The degraded condition of the sex in Eastern countries rendered woman the mere slave and toy of her master; but this very circumstance gave her artistic ideas capable of development into independent action. These first showed themselves in the love of dress and the selection of ornaments. From the early ages of the world, too, Hand spinning spinning and weaving were feminine employments, in which undying germs of art were hidden; for it belongs to human nature never to be satisfied with what merely minsters to necessity. Elizabeth F. Ellet Elizabeth Fries Ellet, Women Artists in All Ages and Countries Harper & Brothers 1859 https://books.google.com/books?id=__tIAAAAIAAJ&pg=PA22 22–23 (377 pages) After studying the optical effects of the Neo-Impressionism Neo-Impressionist Georges Seurat, in 1960 Bridget Riley Riley began to make the extremely precise pictures for which she is known today. Her participation in Op art#The Responsive Eye The Responsive Eye, a 1965 show at the Metropolitan Museum of Art, earned Riley an international reputation. Although Op art went out of fashion very quickly, Riley's work continued to fascinate viewers because of its impeccable technique and sophisticated compositions. Nancy Heller, Women Artists: An Illustrated History illustrated Abbeville Press 1987 9780896597488 https://books.google.com/books?id=84dOAAAAYAAJ&focus=searchwithinvolume&q=respon- (224 pages) Why, yes, of course I wrote all the Arab of Mesopotamia. I've loved the reviews which speak of the practical men who were the anonymous authors, etc. It's fun being practical men, isn't it. Gertrude Bell in a letter from August 30th, 1918, in: Lady Florence Bell w:Florence Bell (writer) 1927 The Letters of Getrude Bell 2 Boni and Liveright External links Category:Art Category:Discrimination Category:Feminism Category:Women artists