Blog

10 Dec Audio: Studio 360’s Kurt Andersen Interview with Andrew Lear

Posted at 17:55h in art history, beauty standards, Shady Ladies, Women's History, World by jenni

Why is contemporary culture obsessed with how well-endowed men are, and yet in classical art men are so small? Kurt Andersen unravels the mystery with a classics scholar, Andrew Lear. Book A Tour Here | Gift A Tour Here...

09 Nov Early Female Artists

Posted at 18:49h in art history, Metropolitan Museum, Women's History by Rena Tobey

For almost ten years, I've been researching and writing about American women artists working before 1945, with particular interest in resuscitating their careers. Everything about these women fascinates me--their struggle to become professionals in a world that doesn't see women that way; the ways they...

21 Aug Painter Mary Ann Alabaster

Posted at 09:49h in art history, Metropolitan Museum, nasty women by Professor Andrew Lear

One of the most important traditions among women painters is the self-portrait in which the artist claims her status as an artist. This is a 19th century English example, by the painter Mary Ann Alabaster, who shows you herself painting a portrait of herself (a self-portrait within a self-portrait) surrounded by her works in different genres.

21 Aug A transitional moment in the status of women in the arts

Posted at 09:29h in art history, Shady Ladies, Women's History by Professor Andrew Lear

This picture shows us a transitional moment in the status of women in the arts. We see a group of women studying in an artist's studio, which is of course relatively modern, as there were no studios where groups of women studied before the mid-18th century, even in Paris.

21 Aug Seen at the Tate: Nameless & Friendless by Emily Mary Osborn 1857

Posted at 09:22h in art history, nasty women, Shady Ladies, Women's History by Professor Andrew Lear

Emily Mary Osborn was one of the most important artists associated with the campaign for women’s rights in the nineteenth century. The daughter of a clergyman, she was brought up in Kent and Essex until 1842 when the family moved back to London. It was here that she trained as an artist at Dickinson’s academy in Maddox Street and then at Leigh’s in Newman Street. During the 1850s Osborn established a reputation as a genre painter specialising in figurative subjects of ‘unpretending character’ – the most significant of which were pictures of modern women in pathetic situations, similar to works by Richard Redgrave and Rebecca Solomon. Home Thoughts, which was painted in 1856 and exhibited at the Royal Academy that same year, was followed by her most famous work Nameless and Friendless in 1857. A full-scale, squared-up preparatory design for the latter exists in the Ashmolean Museum in Oxford and a smaller version in oil in York Art Gallery.

21 Aug Marie Baltshirtseff: In The Studio

Posted at 09:08h in art history, Metropolitan Museum, Women's History by Professor Andrew Lear

[caption id="attachment_6066" align="alignleft" width="295"] Marie Bashkirtseff[/caption] The self-portrait is probably the most interesting tradition among women artists. Often women artists portray themselves as artists, or rather claim their status as an artist though self-portraiture; paintings of other women artists painting are a related tradition, involving a...

21 Aug 19th Century Painter Rosa Bonheur

Posted at 09:00h in art history, Metropolitan Museum, nasty women by Professor Andrew Lear

One of the great animal painters of the 19th century, Rosa Bonheur, portrayed by her life-partner, the American painter Anna Klumpke. For once, Bonheur is wearing women's clothing, but her gown's monochrome simplicity and its jacket-like bodice, along with her strong features and lack of make-up, coiffure etc. certainly make her somewhat gender-ambiguous. In fact, it's hard to say what modern category (if any) Bonheur fit in. A trans activist recently suggested to me that she may have been intersex, which I consider interesting. Whatever the case was, however, she certainly was an early example of a modern, unmarried career woman—and the painting absolutely conveys her strength and independence.

17 Aug Highlight from our fashion and beauty tour

Posted at 03:30h in art history, beauty standards, fashion, fashion history, Metropolitan Museum by jenni

As you walk around any museum, you will see portraits that include far more fashion than person. Here is a great Renaissance gentleman with the vast mink collar, his elegant double brocaded with gold thread, his two gold chains, his beautifully manicured hands and probably...

08 Aug Anne de Pisseleu, the Duchesse d’Étampes

Posted at 11:07h in art history, fashion, Metropolitan Museum, Shady Ladies, Women's History by jenni

People often ask if our tours change over time, and the answer is absolutely yes, they change—both because the museum's displays change, and because we discover things about the artworks. Here for instance is a portrait of a royal mistress that just came onto display at the Met. It isn't certain who the artist is, but the subject is clearly Anne de Pisseleu, the Duchesse d'Étampes, who was one of the most important mistresses of François I, France's most important Renaissance king. Anne was a typical Shady Lady: she was famously beautiful, but also famously intelligent. In fact, she was called "the most beautiful of the learned, and the most learned of the beautiful." It was also typical of the French court that François married her off and gave her husband a title: the French always wanted their royal mistresses to be titled and married (perhaps to prevent their children from making claims on the throne). Want to know more about the Shady Ladies of art and history? Come on our Shady Ladies tours!

08 Aug Are They Thinking About the Grape?

Posted at 10:59h in art history, museum of fine arts by Professor Andrew Lear

In this painting the artist is telling you just what Professor Lear says so often, that the painting is intended as sexy. You might think that the kind of shepherd-love fantasy that the painting portrays is inherently innocent, but if you look at it, you might notice signs of erotic heat, particularly in the facial expressions. And Boucher makes clear that the scene is not innocent by calling it, "Are They Thinking About the Grape?" I guess not then.... Want to see learn more about the sexy side of great art? Come on the Shady Ladies of the MFA tour, and while you are there, catch the "Casanova's Europe" exhibit, with this painting among many other fun ones! Learn more bit.ly/2wE18i9