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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not se^d UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this co^r for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nimiber 9505207 E v a Gouzalès (1849— 1.883): A n examination of the artist’s style and subject matter. (Volumes I and II) Grant, Carol Jane, Ph.D. The Ohio State University, 1994 Copyright ©1994 by Grant, Carol Jane. All ri^ ts reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 EVA GONZALES (1849-1883): AN EXAMINATION OF THE ARTIST’S STYLE AND SUBJECT MATTER VOLUME I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Carol Jane Grant, B.F.A., M.A. ***** The Ohio State University 1994 Dissertation Committee: Approved by M. Herban III F. Richardson Advisor M. Ciszkewycz Department of History of Art Copyright by Carol Jane Grant 1994 To My Family IX ACKNOWLEDGEMENTS I wish to express my sincere appreciation to Dr. Mathew Herban III for his inspiration and guidance throughout the research and writing of this dissertation. Thanks go to other members of my advisory committee, Drs. Francis Richardson and Myroslava Ciszkewycz, for their comments and suggestions. Gratitude is expressed to Susan Wyngard, Fine Arts Librarian, The Ohio State University, for her assistance. My appreciation extends to Charles F. Stuckey, Samuel Josefowitz, Sheena Stoddard, Mary Kuzniar, Anne Roquebert, Pierre Bazin, Adrian Le Harivel, Karl Schütz, Sarah Schroth, Mme. Courrech and Lisa Michaux for their assistance in providing me with access to Eva Gonzales’ works. To my parents, Roderick and Susan; my sisters, Patricia and Sally; and, their families, Joe, Jordan, Courtney and Samantha, my heartfelt appreciation for your faith in me, your understanding and your willingness to support my endeavors. Ill VITA July 15, 1958 ......... Born - Madison, Wisconsin 1980 ........................ B.F.A., Ohio Wesleyan University, Delaware, Ohio 1980-1984 .................... Public School Art Teacher, Various districts in Ohio 1988 . .................... M.A., The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: History of Art Studies in: Modern European, 19th and 20th Century History of Art, M. Herban 111 and M Ciszkewycz, Baroque History of Art, F. Richardson and B. Haegar Southern Renaissance History of Art: F . Richardson XV TABLE OF CONTENTS DEDICATION ........................................... ii ACKNOWLEDGEMENTS ..................................... iii VITA ................................................. iv INTRODUCTION ......................................... 1 CHAPTER PAGE I. BIOGRAPHICAL CHRONOLOGY AND CONTEMPOARY CRITICISM ............................. 29 Introduction............................... 29 Eva’s Biography and Contemporary Criticism. 30 II. THE GONZALES F A M I L Y ........................... 51 Introduction .......................... 51 Louis-Jean-Emmanuel Gonzales ............ 52 Marie Céline Ragut Gonzales .............. 62 Henri-Charles Guérard .................... 68 Jeanne Guérard-Gonzalès .................. 77 C o n c l u s i o n .................. 87 III. THE DEVELOPMENT OF EVA GONZALES’S STYLE........ 88 Introduction ............................. 88 The State of Art Education for Women in Nineteenth Century France ............ 90 Charles Chaplin.................... 95 Alfred Stevens .......................... 101 Edouard Manet ..... 108 Edgar D e g a s ................................. 146 Conclusion................................... 154 IV. A SURVEY OF NINETEENTH CENTURY WOMEN AS ARTISTS. 156 Introduction ............................. 156 Marie Louise Elizabeth Vigée-Lebrun .... 159 Rosa B o n h e u r ...................... 162 Henriette B r o w n .......................... ' 165 Marie Bracquemond........................... 170 V Berthe M o r i s o t ......... ................. 175 Mary Cassatt ............................... 185 Marie Louise Catherine Breslau................193 Louise Abbema ............................. 195 Marie Bashkirtseff........................... 198 Conclusion................................... 203 V. PAINTINGS OF HER SISTER, JEANNE...................208 Introduction ....... .............. 208 La P s y c h e ................................... 213 Le Thé....................................... 222 L * Éventail................................... 233 L ’ Indolence.................... 235 La N i c h é e ................................... 239 Une Loge aux Italiens....................... 245 Le Petit lever............................... 273 Le Sommeil and Le Réveil.................... 280 Au Bord de la mer. Ronfleur........... 284 La Promenade à âne .......................287 Conclusion . ............................. 295 REPRISE................................................. 302 VI INTRODUCTION During the nineteenth century, few women were granted access to artists' teaching ateliers and, even fewer, to major art circles even though there were a large number of women artists working in France. One of these artists was Eva Gonzales (1849-1883). Little has been written about her life or work until quite recently, making it difficult to place her into the context of her era, to comprehend her stylistic development, and to understand the content of her oeuvre. In this dissertation I will establish her rightful position in the history of art by enriching our understanding of Eva Gonzales— hiographically, stylistically, iconographically and iconologically. An issue which needs to be addressed here, is why it is important to look at Eva Gonzales' work, and that of a woman artist in particular. During the past twenty years, a great deal of attention has been given to research on the work of women artists and the importance of women as artists. This focus began in the early 1970s with Linda Nochlin’s essay "uWhy Have There Been No Great Women Artists?" (1971)^ in ^Linda Nochlin, Art and Sexual Politics: Why Have There Been No Great Women Artists? (New York: Macmillan Publishing Company, Inc., 1973). 2 which, among other things, she discussed the character of art history teaching and education as it pertains to the study of women’s artistic contributions. Her article inspired a number of art historians to rediscover the work of women and write of their place in history. In particular, Nochlin stimulated not only written inquiries, monographs and analyses, but the mounting of a number of exhibitions. The first, and most important, was Vomen Artists: 1550-1950 (1976-1977), curated by Nochlin herself and Ann Sutherland Harris. This event brought together over 150 works by more than 85 artists and traveled to four venues.^ It was the first of its kind and scale and the curators hoped it would inspire further interest in researching and collecting art by women. The catalog contains two essays, one by Professor Harris, the other by Professor Nochlin, as well as short biographical essays on each artist and cursory descriptions of the works represented along with some information as to provenance. The two major essays examine the general conditions under which women became artists, educational opportunities open to them, individual works, critical reactions and women’s roles and their patronage, all placed within a general historical overview. In addition, there is It was not the first of its kind however, according to Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work (New York: Farrar Straus Giroux, 1979), p. 1, in 1906, Une Éxposition retrospective d ’art féminin was held at the Hôtel du Lyceum France. 3 a brief discussion of why certain works were included in this exhibition and how the show might be viewed as a whole. In this respect, Harris states that the artists and their works "are best viewed as part of a musée imaginaire where, by some extraordinary circumstance, all the artists happen to be women and not men. This exhibition was pivotal in expanding interest into the research of women artists begun by Nochlin’s article. It did not attempt to present an artist and her work as a whole, explain how she fit into her historical and artistic milieu, nor how their achievements
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