"Why have there been no great women artists?"

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

“Why have there been no great women artists?”  It is true that throughout history there have been no “great” women artists, artistic female “geniuses,” or Michelangelo, Rembrandt, or Van Gogh equivalents that also possess a vulva.  This is not due to an inability for women to create great art, or due to a lack of talent.  Artists, such as Artemisia Gentileschi and Mary Cassatt demonstrate the ability to create dimension, mimic realism and convey strong emotion through expressive mark making.  There is no specific visual aspect of their work that possesses a feminine quality that renders the work less significant than work created by any male artist, other than her signature on the back. 

These female artists lived in a patriarchal society during a time when women were refused equal education and the opportunities for success.  Aspiring female artists were not permitted to train and develop crucial skills in order to excel.  During this time women were not only kept from achieving “greatness,” but they were also denied the recognition when they did.  Each of the masterpieces displayed in this exhibition is an example that the artists’ reproductive organs did not keep them from possessing any sort of artistic talent, and demonstrates that female artists, and women in general, are in fact capable of greatness.         

Judith and Holofernes, Artemisia Gentileschi, 1620 - 1621, From the collection of: Uffizi Gallery
The exhibition begins with a powerful painting, both in technical skill as well as imagery and subject matter. “Judith and Holofernes” is a scene from a biblical story that takes place in Bethulia, a town besieged by an Assyrian general, Holofernes. Judith enters Holofernes' tent, captivates him with her beauty, then after he passes out from a night of drinking, beheads the general, taking his head as a trophy. The strong female protagonist is believed to be a reflection of the artist herself and the struggles of sexual abuse she faced, which makes this a bold and powerful painting.
Lillans sista bädd ('The last bed of The Little One'), Amalia Lindegren, 1858, From the collection of: Nordiska Museet
While "Lillans sista badd" is much different in terms of subject matter, it possesses a dark palette and emotional tone similar to "Judith and Holofernes." A little girl lies lifeless in her cradle while the other subjects mourn her death. This painting is an example of executing precise draftsmanship, while creating atmosphere and emotion.
The Danish Artist Bertha Wegmann Painting a Portrait, Jeanna Bauck, late 1870s, From the collection of: Nationalmuseum Sweden
“The Danish Artist Bertha Wegmann Painting a Portrait”depicts a woman in a role that breaks tradition and stereotypes. Portraying a woman as an artist, rather than inside the home performing household chores or stripped of her clothes in a suggestive pose, is a strong statement.
Peasant Women of Boršt, Elizabeth Nourse (American, b.1859, d.1938), 1891, From the collection of: Cincinnati Art Museum
Nourse studied at the McMicken School of Design, then moved to Paris in 1887 to pursue a career in painting. Although she received little training beyond her studies in the States, she was able to find success in the artworld as a Salon painter in the 19th and early 20th century. This was a great accomplishment, as she was faced with structural sexism while establishing her career.
An Egyptian Fellah Woman with her Baby, Elisabeth Jerichau Baumann, 1872, From the collection of: SMK - Statens Museum for Kunst
Elisabeth Jerichau Baumann had a unique style of her own, as she was drawn to exotic and foreign subject matter that was rarely seen in Denmark, where she was from. She executed highly detailed work and showcased her mastery of technical skill.
Self portrait, Nora Heysen, 1932, From the collection of: Art Gallery of New South Wales
Nora Heysen was an independent, ambitious young artist from the 1900s, who admired artists such as Vermeer, which can be seen on the walls in the background. This painting continues with the common thread of strong female protagonists painted by talented and skilled artists. This painting is reminiscent of early Renaissance European masters through its defined forms and precise palette, as well as its powerful composition.
Self-Portrait, Marie-Gabrielle Capet, ca. 1783, From the collection of: The National Museum of Western Art, Tokyo
Capet was a French painter during the 18th and 19th century. With her "Self Portrait" a transition from a dark and gloomy ambience and earth tone palettes to lighter tones and more colour begins.
The Child's Bath, Mary Cassatt (American, 1844–1926), 1893, From the collection of: The Art Institute of Chicago
"The Child's Bath" is an oil painting that highlights Cassatt's concentration on the human figure and portrayals of women and children. This painting is known as one of Cassatt's masterworks, as she employed an unorthodox composition and an unconventional perspective.
Young Girl in a Ball Gown, Berthe Morisot, 1879, From the collection of: Musée d’Orsay, Paris
Although Morisot was not allowed to join official arts institutions due to being a woman, she earned respect for her talent and skill in art circles. She never achieved commercial success as a painter, however she did outsell several of her Impressionist male counterparts, such as Renoir and Monet.
Woman with a Pearl Necklace in a Loge, Mary Stevenson Cassatt, American, 1844 - 1926, 1879, From the collection of: Philadelphia Museum of Art
The exhibition ends as strongly as it began with Cassatt's oil painting of a young woman at the theatre. What makes this painting interesting is the mirror reflection behind the young woman, which allows the viewer to see what the woman sees before her. The loose brushstrokes create a sense of movement and bustle in a social setting, while also maintaining attention to detail, as each pearl around her neck reflects the light that fills the room.
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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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