art history

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...

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.

[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...

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.

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!

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