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Download Issue (PDF) Vol. 1 No. 3 r r l S J L f J C L f f C t J I Winter/Spring 1977 AT LONG LAST —An historical view of art made by women by Miriam Schapiro page 4 DIALOGUES WITH NANCY SPERO by Carol De Pasquale page 8 THE SISTER CHAPEL —A traveling homage to heroines by Gloria Feman Orenstein page 12 'Women Artists: 1550— 1950’ ARTEMISIA GENTILESCHI — Her life in art, part II by Barbara Cavaliere page 22 THE WOMEN ARTISTS’ MOVEMENT —An Assessment Interviews with June Blum, Mary Ann Gillies, Lucy Lippard, Pat Mainardi, Linda Nochlin, Ce Roser, Miriam Schapiro, Jackie Skiles, Nancy Spero, and Michelle Stuart page 26 THE VIEW FROM SONOMA by Lawrence Alloway page 40 The Sister Chapel GALLERY REVIEWS page 41 REPORTS ‘Realists Choose Realists’ and the Douglass College Library Program page 51 WOMANART MAGAZINE is published quarterly by Womanart Enterprises, 161 Prospect Park West, Brooklyn, New York 11215. Editorial submissions and all inquiries should be sent to: P. O. Box 3358, Grand Central Station, New York, N.Y. 10017. Subscription rate: $5.00 for one year. All opinions expressed are those o f the authors, and do not necessarily reflect those o f the editors. This publication is on file with the International Women’s History Archive, Special Collections Library, Northwestern University, Evanston, IL 60201. Permission to reprint must be secured in writing from the publishers. Copyright © Artemisia Gentileschi- Fame' Womanart Enterprises, 1977. A ll rights reserved. AT LONG LAST AN HISTORICAL VIEW OF ART MADE BY WOMEN by Miriam Schapiro Giovanna Garzoni, Still Life with Birds and Fruit, ca. 1640. Watercolor on parchment, 10xl6Vi ”. The Cleveland Museum o f Art, Bequest o f Mrs. Elma Schniewind in memory of her parents, Mr. and Mrs. Frank Geib. All photos supplied by the Los Angeles County Museum of Art. Schapiro examines ‘Women Artists: 1550—1950’ Ms. Rembrandt. Where was she? Did I fortune. End of fantasy. at the Los Angeles County not deserve a painter for a grandmother? I did not identify with Rosa Bonheur. I My imagination works overtime. I am think it was because she was in disfavor Museum, and shares her naive and I swallow all those myths about with my high school teachers. Did they intensely personal reaction Rembrandt himself. They present me with perhaps know of her alternate life style to the show. a problem. How am I to superimpose a and disapprove? I could never figure out fantasy of myself as an artist onto the why George Sand appealed to the curious legend that is Rembrandt? No way. I public and Rosa not; after all, both of imagine an alternate vision in which I am them wore pants. his everpresent groupie flower child. I As mature artists, the women of my capture my great man’s heart and he generation feel better about their past. We From the moment I heard about the sweeps me into a lifelong relationship in know that out of our struggle has come a show five years ago, and during my recent which I model for him, do his cleaning changed climate that makes possible such flight to Los Angeles to see the show, and and cooking and keep the bill collectors a magnificent show. Museum personnel in even as I walked across the courtyard of from disturbing him while he creates. I many countries deserve our gratitude. I the County Art Museum to a preview of also bear him many children. However, understand that in many cases when Women Artists: 1550-1950, I wondered my fantasy takes a unique turn; you see, I works for this show were not given top what it would be like, to see great never give up my art and I work silently priority by querulous male curators, who paintings of the past, all made by women. when my master’s back is turned and one questioned its “anomalous” nature, As a young woman growing up, in day I am discovered (like Giotto, when he women workers, showing solidarity and training to be a professional artist, I used tended his sheep) by a man who scoops up believing in equal rights for women, to look back over my shoulder at the past my wonderful drawings and carries them pressed decisions through regardless of for my female ancestry and wonder about away so that they may bring me fame and administrative priority. Adelaide Labille-Guiard, Portrait of Madame Marie Victoire Lemoine, Interior of the Atelier Mary Cassatt, Mother About to Wash Her de Genlis, 1790. Oil on canvas, 29x23 Vi of a Woman Painter, 1796. Oil on canvas, 45 Sleepy Child, 1880. Oil on canvas, 39/ix- Bethesda, Maryland, Collection Mrs. Harry 7/8x35”. New York, The Metropolitan 25A ”. Los Angeles County Museum of Art, Woodward Blunt. Museum of Art, Gift of Mrs. Thornycroft Bequest o f Mrs. Fred Hathaway Bixby. 4 Ryle. ■ Sophie Taeuber-Arp, Little Triptych, Free Vertical-Horizontal Rhythms, Loren Maclver, Hopscotch, 1940. Oil on canvas, 27x36”. New York, the Cut and Pasted on a White Ground, 1919. Watercolor on paper, Museum o f Modern Art, Purchase, 1940. 8'Axl2Vt”. Basel, Kunstmuseum, Gift of Marguerite Arp-Hagenbach. The exhibition looks marvelous thanks Even as the preview doors opened some of have a painting in the exhibition entitled to Jeanne d’Andrea who installed it and the paintings were still en route, causing Melancholy, but unfortunately, the con­ who was responsible for the biographical one of the women involved with the show troversial painting is still being questioned notations at the sides of the paintings. She to say: “Things are still being held up by as to authorship and is not in the exhibit. chose to keep the readings informal and male chauvinist Italians!” This story heightens the precarious the public enjoyed them. Nancy Grubb, The preface to the catalog lists various position of women in the history of art. the editor of the catalog, described her reasons for the unavailability of some of Even if it were agreed by the arbiters of own complete involvement with this the works. I was interested to learn that taste that a woman indeed had painted a particular exhibition, feeling it deserved some of the paintings were in wormy masterpiece, her rank as a woman would special attention. Ann Sutherland Harris condition and could not travel. One work against the evidence. So she is and Linda Nochlin, two extraordinary wonders why some of these marvelous damned if she makes a masterpiece and women, curated the show and wrote the works by women are in wormy condition. she is doomed if she doesn’t. catalog, that is now a text on the subject. We know that extra care is given to When I wondered what it would be like On each page, the passion and the material objects which have high eco­ to see great paintings of the past made by expertise of their scholarship benefits us, nomic value and which bring glory to women, I imagined that the paintings making up for the bleak, informationless their owners. Were these works by would easily reveal their womanness to years of the history of women as artists. women, then, neglected? me. In fact, they looked as if men could Apparently, organizing the show present­ A relevant story is that of the portrait have done them. A momentary disap­ ed constant difficulties. For over three of Mademoiselle Charlotte du Val pointment occurred at seeing them years, Professors Harris and Nochlin d ’Ognes (a French painting of the 19th neutered down in their museum showcase, researched their subjects in Europe and century owned by the Metropolitan classical and elegant, but not exactly what selected paintings for the show. They were Museum of Art). When originally attrib­ the fantasy had predicted. disappointed and frustrated when so uted to David, it was clearly established as The show puzzled me in terms of my many expected works failed to arrive. a masterpiece. When reattributed to feminism. I understand that I cannot lay a Broken promises caused extensive rewrit­ Constance Charpentier, the ‘masterpiece’ transparency of feminist philosophy over ing of the text of the 367 page catalog. lost its status. Mme. Charpentier does the paintings themselves; yet, I am Florine Stettheimer, Beauty Contest, 1924. Oil on canvas, 50x60A ”. Hartford, Wadsworth Kay Sage, Page 49, 1950. Oil on canvas, Atheneum, Gift of Miss Ettie Stettheimer. 18x15”. Williamstown, Massachusetts, Wil­ liams College Museum of Art, Bequest of Kay Sage Tanguy. 5 reluctant to dismiss the possibility entire­ ly. If we had more personal information from the women artists, they could, in a sense, speak to us and give us clues as to the covert imagery in their works. It would come from their journals, letters, notes and diaries. Their articulate sisters, writers like Mary Wollstonecraft, Jane Austen and Virginia Woolf, reveal a special woman’s world when their works are read in conjunction with their private writings. We have not as yet established a method for the examination of a feminist DAPHNE MUMFORD iconography. We agree that style does not March 12-31 bind women artists to each other, but, possibly, content may connect us in ways upon which we are yet unable to agree. LANDMARK GALLERY Georgia O’Keeffe is irritated at feminist interpretations of her flower paintings, 469 Broome St., NYC. yet, many feminists feel strongly about what the content means to them. When Tel. 966-1178 will the resolution come? For now, we live with the controversy. We know that until the end of the 19th century women were excluded from the official art academies and often had inadequate training in anatomical draw­ ing.
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