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Feminist Art History (AHS 265) Week 1 Notes

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by: kmschemmel

Feminist Art History (AHS 265) Week 1 Notes AHS 265-1

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These notes are from my first week in class. They cover what we go over in class and include the teachers comments over the reading assignments (if she talks about them). They will pertain to the f...
Feminist Art History
Dr. Natalie Phillips
Class Notes
Art History




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1 review
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"Better than the professor's notes. I could actually understand what the heck was going on. Will be back for help in this class."
Frederic Gutmann

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This 3 page Class Notes was uploaded by kmschemmel on Saturday January 16, 2016. The Class Notes belongs to AHS 265-1 at Ball State University taught by Dr. Natalie Phillips in Spring 2016. Since its upload, it has received 36 views. For similar materials see Feminist Art History in Art at Ball State University.


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Star Star Star Star Star

Better than the professor's notes. I could actually understand what the heck was going on. Will be back for help in this class.

-Frederic Gutmann


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Date Created: 01/16/16
Feminist Art History: WEEK 1 Wed. Jan 13 Introduction: - Defining what term feminist even mean? - The Feminist Movement o The First Wave (late 19 century): earning the right to vote o Second Wave (1960s and 1970s): about equal rights, sexual liberation o Third Wave (1990s-present): takes ideas from second wave and makes them more complex and sophisticated o Post-Feminism? Now? : Would mean an age where gender no longer matters (some think this is true but more think it is not yet true) - Feminist Art History: o Mary Garrard o Norma Broude o Their writing are very important and ground-breaking - The Feminist Approach is: o “Predicted on the idea that gender is an essential element in understanding the creation, content and evaluation of art” (gender matters when evaluating a work of art) - Feminist Approach (works of art): o 1. Feminist interpretations (of that work of art)  Ex. Menkaure and Khamerenebty, 2490BC: the way the gestures between are interpreted is that the male has the power due to the hand gestures but feminist believe that the women has the power due to her hands gestures in front of the man) o “History” vs. “Herstory”  Women were successful but due to the prejudice during that time they were written out of the history  Sofonisba Anguissola: Michelangelo loved her work and helped teach her; but most have not heard of her due to be written out of history o Limitations on women artists  Ex. Rachael Ruysch, baroque still-life artist: did still- life’s due to limitations put upon them as an artist. Therefore she was limited on how much fame she has had due to the subject they are allowed to paint, etc. o How women are represented:  Women were nude, sexualized/objectified, and juxified to appreciate the female body  Men were represented as subjectified and as a human rather than just an object, were dressed, etc. Linda Nochlin, Why Have There Been No Great Women Artists? 1971 (reading) - Written in 1971 (second wave feminist movement) - She was an art historian teaching art history just to women. - Title: purposely provocative, takes as its premise that there are great artist, like a slap in the face but if you break it down: o Great artist: Pablo Picasso, Leonardo Da Vinci, jack Pollock, etc. hence they are all men, in addition usually white American or European men o She is saying that they are no great artist that women at all period. She determines great artist based on influence, etc. o In the filed of art history, the white western ….man does prove inadequate. (Quote) o Main points; Women throughout art history were:  Education: women lack to access to it,  Were denied access to art institutions  Were objects of study rather than a studiers themselves  Denied access to important art exhibitions  Big one back then was “The Salon” a big thing back then, if you didn’t get in then you weren’t an artist  Denied access to the study of the male nude  The most valued was history painting (mythology and religion), then landscapes, animal paintings, portraits, and finally still life’s.  This caused them to not be able to go to big patrons because of their lack of wide variety of subjects  Limited to only the “minor” arts (craft vs. fine art)  Ex. Textiles/tapestry, ceramics, (not as valued)  Therefore pushed into the margins of art history  Rare Exceptions?  Some women were able to succeed  They were related to or had a close relationship to some male artist, which enabled them to get education from them and teach them how to make great art o Ex. Rosa Bonheur (didn’t have close relative artist but her farther believed in a certain religion where he believed the second messiah would be a women- valued women and placed them above men- which enabled her to reach success) o It is not that the women were not capable of greatness but they were limited and restricted from achieving this greatness. - a


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