Women in Western Art

Discussion Outline for 1960s and 1970s: Art, Civil Rights, and the Women’s Movement
Ann McHale and Melody Ain

I. Introduction: Feminism and Art in the Twentieth Century
a. Summary: Attitudes of women throughout history have come from some of the most celebrated male minds of Western culture. This attitude towards women has continued to shape history and the understanding of gender. The establishment of the female place in art has been a continuous battle. Norma Broude and Mary D. Garrard introduce the rediscovery of Feminist art history to a new generation of women in this crucial book.

b. Discussion Questions:
What is feminist art?
Is all art created by women feminist art?
Are the unconscious themes of women artists “feminist? Is it possible for a woman to create art, and it not to be feminist? Example: LK

II. Feminism Unbound by Nancy Princental
a. Summary: Nancy Princenthal reviews the exhibition “ WACK! Art and the Feminist Revolution”. Since the 1960s when the feminist art movement began to emerge, women have been particularly interested in what makes them different. In this exhibition women go to extreme levels to set themselves apart, all in the name of art. From self mutilation to performance art, women artists take their craft to a new level of self expression. Women artists in this exhibition express the importance of self identity.
b. Discussion Questions:
i. How has the human body become a focus in art? Self mutilation, violence, sexuality….
ii. When does this type of art become to radical? Where is the line drawn?
Is this type art of effective? Who is the audience?
b. List of Images:
i. Caroline Schneemann
1. Interior Scroll
2. 1975
3. New York City ( first performance)
ii. Judy Chicago
1. Red Flag
2. 1971
iii. Judy Chicago
1. The Dinner Party
2. 1979
3. Brooklyn Museum
iv. Anna Gaskell
1. Untitled #35 ( Hide)
2. 1998
Collection of Heather and Tony Podesta, Falls Church, VA
v. Marji Geerlinks
1. Mothers
2. 2000
3. Torch Gallery Amsterdam

vi. Catherine Opie
1. Self Portrait/Nursing
2. 2004
3. Los Angeles
vii. Jenny Sarille
1. Untitled ( Study)
2. 2004
3. New York
Worldwide Women by Eleanor Heartney
Summary: The women’s movement of liberation has explored all areas of the human experience. However, the change in the field of art has lagged far behind in the movement for female liberation. In Eleanor Heartney’s review of “Global Feminism: New Directions in Contemporary Art” she highlights the work of women artists who have made many significant contributions throughout the history of art in this exhibition. She also discusses the problems with the exhibition, and the barriers within the realm of feminism.
Discussion Questions:
i. The experience of women around the world are drastically different. How does this effect their view of feminism?

ii. Why do some feminist artists take on such a aggressive approach to their sexuality?

iii. How do women identify within their culture and race but also as women in their art?

Themes:
Identity
Sexuality
Interpretation of what is Feminism
Violence and Self mutilation in art

Ann McHale
October 1, 2009
ARTH 460

Discussion Outline for The Model and The Artist

I. Introduction (Madison)
a. “ Every prominent scholar of nineteenth century art planted himself in front of her, writing paraphernalia at hand. All thought their engagement disinterested, but it wasn’t. They circled her from above, close up, on top. What did they mean to do with all those words? Describe her? Analyze her? Situate her? Or: Posses her? Control her? Silence her?” pg. 15 Alias Olympia
b. Discussion Questions:
i. What were the other authors’ intentions for writing about Victorine Meurent?
ii. What were Lipton’s intentions for researching Victorine Meurent?

II. Alias Olympia (Ann)
a. Summary: In this book Eunice Lipton investigates the life of Vicotrine Meurent. Throughout history Victorine has been portrayed as the bold beautiful model made famous by Manet’s painting Olympia. History remembered Vicotrine as the model who descended into a life alcoholism and prostitution. Lipton sets out on a search to find the truth behind the face that made Edouard Manet famous. Through her research she also incorporates her own narrative about her own personal struggles in life.

b. Discussion Questions:
i. Do you think the images of Victorine Meurent painted by Manet and others were true depictions of her life?
ii. What image did Manet portray of Victorine Meurent versus the image portrayed by Norbert Goeneutte? (Refer to pages 104-108 in Alias Olympia)
iii. What category of model would Victorine Meurent fall into, modèle de profession, modèle à l’occasion, or modèle privilégié?
b. List of Images:
i. Olympia
1. Manet
2. 1863-1865
3. Musée d’Orsay
ii. Madoiselle Victorine in the Costume of an Espada
1. Manet
2. 1862
iii. Dejeuner sur l’herbe (Luncheon on the Grass)
3. Manet
4. 1863
5. Musée d’Orsay

iv. Portrait of Victorine Meurent
1. Manet
2. 1862
3. Museum of Fine Arts, Boston

v. Street Singer
1. Manet
2. 1862
3. Museum of Fine Arts, Boston

vi. Woman with a Parrot
1. Manet
2. 1866
3. Metropolitan Museum of Art

vii. Palm Sunday
1. Victorine-Louise Meurent
2. 1880s?
3. Municipal Museum of Art and History, Colombes

III. Realist Quandaries Article (Amy)
a. Summary: In this article Susan Waller explains the difference between the three types of models: modèles de profession, modèles à l’occasion, and modèles privilégiés. During the 19th century artist began to move away from the traditional model use of professional models to non-professional models. Artist began to use a diverse range of models in their work to gain a more natural element in their works.

b. Discussion Questions:
i. How did Manet influence the shift from modèles de profession to modèles à l’occasion, and modèles privilégiés?

Define: modèles de profession- was paid, posed, and had no say in the work of the artist.
modèles à l’occasion- was usually associates of the artist, family or friends. They were not paid, yet the artist worked with their image are an artists friends or family.
Propriety models – usually commissioned the work. They paid for the artwork and had a say in the work of the artist.

ii. What issues did female models face?
iii. What were the attitudes towards Victorine Meurent? Did her modeling in Manet’s paintings influence the others’ opinions of her?
Examples:
Kate Dickens example of Pre Raphaelite in John Evertt Millais
The middle class women posing in the garden was less fraught than posing in an artist studio though too it could create problems

Ann McHale

Judy Chicago’s The Dinner Party 

In 1979, Judy Chicago brought the women to the table. Bringing the problem of female exclusion from the male dominated discussions of art and society into the limelight. After five years, with the help of over four hundred people, she transformed the simple concept of a dinner party into her most influential piece. She used the power of art as a vehicle for change. In a male dominated world, women have had to compete for their rightful place in history.  Judy Chicago gave them a place.

Now housed in the Brooklyn Museum, the mixed-media piece of art commemorates the achievements and aspirations of influential women in history. In my research paper, I will explore why The Dinner Party was an important icon of feminist art in the 1970s and, how it is still considered an achievement today. I will research into some of the 1,039 women she represents in the work, and why she considered them to influential. I will closer examine the history of these women to better understand Judy Chicago’s intentions with The Dinner Party.

Currently I have checked out books from the library about Judy Chicago and The Dinner Party. I also have looked up articles on databases and in other scholarly journals. I also plan to possibly visit the Brooklyn Museum before the end of the semester to better investigate the piece.