Art History Exam 1

Why did women in the 70s decide to pursue “craft”

Many young women artists in the 70s decided to do craft because “maybe that’s what women really should be doing since it’s women’s work”

Rozsika Parker and Griselda Pollock

• Said before we embrace craft, let’s look at the relationship between women and craft

• Wrote “Old Mistresses,”

• Flower painting

• History of embroidery

• It’s not because they are women that they make craft. Because they are women, what they do is craft.

Allegorical Portrait of an Artist

• Michiel van Musscher

• She is a flower, so she painted a flower, so the painting is an extension of herself

Woman Embroidering

• Georg Friedrich Kersting

• Is it craft because it’s a woman, or because she is just sitting at home

• No studio, not public

Linda Nochlin

• Asked why have there been no great women artists

• It’s not about women, it’s about how art and women has been defined by society

• Myth of the great artist: A good artists’ skills show up early on. This has never shown for women. However, it’s because men have the privilege.

• Nude models

• Idea of a true lady’s accomplishments (caretaker, busy work). Didn’t have the space or time to develop their skills.

Why have there been no great women artists

• Women create life, men create art. Leave this to the men

• Women are the muse of the artist, not the creator

• “Women were great in different ways.” Soft. Feminine

What made Rosa Bonheur successful

• Dad was an artist → got training and education

• Time period: Many could be successful even when you couldn’t paint nude. More emphasis on smaller, simpler paintings.

• Independent. Didn’t dedicate her like to a man and have to sacrifice

• Dressed in male attire, helped her study animals

• Mom died when young → Didn’t have someone to teach her how to be ladylike

Berthe Morisot Background

• Impressionist

• She was a female impressionist. Many famous impressionist works she couldn’t have painted due to being a woman. A world curated for men. All her paintings family or friends (weird for a woman to paint strangers or crowds)

• Upper bourgeoisie

• Sister, both raised like women of the upper class at the time. Both loved painting and skilled. Mom concerned they’re taking it too seriously. Berthe very stubborn

• Accepted at salon

Berth Morisot and Edouard Manet

• Met through connections at Louvre

• Controversial because of his Olympia painting

• She becomes his model and protegee, has a huge liking for him despite being married

• Manet was a slow painter, kept in her studio to paint her for days.

• She has no time to paint, but wants to learn from him

Olympia

• Edouard Manet

• Controversial because it depicted a prostitute, was more realistic over idealized, not as smooth, can see brush strokes

The Mother and Sister of the Artist

• Berthe Morisot

• Berthe invited Manet to tea while painting this

• He completely took over the painting

  • Made her mother happy because she had little confidence in her daughter

  • “My only hope is that I shall be rejected”

  • He’s trying to help, not realizing it’s problematic

The Harbor at Lorient

• Berthe Morisot

• Each object is getting its own treatment

• Manet saw this work and really loved it, so she gave it to him where he kept it in his studio until death

• Example of how her style hasn’t changed much since meeting Manet

• However, his work heavily changed, transitioning to impressionist works

• She changed him, not the other way around

Morisot marriage and conflicted

• Morisot was a very conflicted woman.

  • Really wanted to be an artist, but her family needed her to get married

  • Her sister gave up painting, got married and had kids

• Berth decided not the get married

• Mother wrote to her concerned, she won’t have financial support. If you get married, you fall into poverty. She needs to marry urgently or her beauty will fade

• Berth moves back in with mom and works on her art in the living room

• Her mom would invite all these people to afternoon tea, making it impossible for her to work

• Would refuse to eat as blackmail

• Overall, her mother and manet weren’t trying to harm her. Just wanted what’s best

Portrait of Madame Pontillon

• Berthe Morisot

• Painting is a portrait of her sister in all black, hiding her pregnancy

  • During when her sister went home to be with her parents since she was pregnant

  • Pregnancy is not a time where you go out, you hide

Berthe Morisot and Eugene Manet

• Edouard’s brother comes along and falls in love with Berthe

• Tells her he will support her as an artist, they would buy a house and she would have a space to work. She agreed to marry him

• Bought a house where she had her own studio. He would install exhibitions and frame her work

• Had a daughter together. He took care of their daughter so she could paint.

Morisot, a modern, independent artist

• Part of the popularity of impressionism

• Monet’s impressionist painting controversial because the brush strokes were obvious, it was unfinished, and not a lot of color

• Nobody liked this work, so artists created their own impressionist exhibition. Berth was a big part of this.

The Cradle

• Berthe Morisot

• Depicts her sister with her second child

• Can see that Berthe’s work was very modern. Her sister is tired, disheveled

Woman and Child on the Balcony

• Berthe Morisot

• Shows a real woman

• Depiction of the child is different from how children were painted during this time (naked babies)

• More natural, less theatrical

The Wet Nurse and Julie

• Berthe Morisot

• Morisot’s wet nurse and daughter

• An image by a working mother

• A modern image of a mother representing her daughter

• Fierce brushstrokes

• A female artist, rather than a male artist, painting a woman breastfeeding her child, not out of nurturing instinct, but for money

Eugene Manet and his daughter at the garden

• Berthe Morisot

• The father taking care of his daughter so the mother can work and paint them

• How many men during this time would have played with his daughter, in public, being painted by a woman?

• He’s doing all this without feeling deminished

Mary Cassatt background

• An ambitious, academic American artist trained in academic way

• Belongs to a very wealthy family, has a lot of money

• Doesn’t receive as much pressure to get marries since she has funds (wasn’t conflicted)

• Her works were very typical, but still amazing

Mary Cassatt Pre shift

Mary Cassatt shift toward modernity

• Moved to France to become a better artist: Studied and took classes

• Has a turn towards modern life which takes place in the louvre

  • Meets Degas who really likes her and thinks she’s good

  • Supportive but critical of her work. Introduces her to other artists and friends

Little Girl in a blue armchair

• Mary Cassatt

• Post shift towards modernism

• Very natural, appropriate pose for a little girl

• Modern spatial positioning

Woman reading

• Mary Cassatt

• Shift toward impressionist movement

• Color palette much lighter now, not as realistic

• Later work is less staged and more natural

• Loose brushstrokes we can see

• Woman is reading fashion magazine, which was just taking off

The Artist’s Mother

• Mary Cassatt’s mother reading a newspaper

• Representation of her proto-feminism

• Not a young beautiful woman, but an older woman with glasses which isn’t common at all during this time

• Shows a woman not interested in her own beauty, but politics

• Representing not just modern women, but active women

A woman and a girl driving

• Mary Cassatt Proto-feminism

• Woman driving a buggy, very modern

• The man in the painting is in the back

Mary Cassatt and modern motherhood

• Very real depictions

• Part of a debate about breastfeeding

  • Her work trying to push women to take care of their own children

  • It used to be frowned upon for women to nurse their own kids as it could mess up their figures, etc.

• Usually depictions of upper class women

Maternity

• Mary Cassatt

• A real depiction

• Trying to influence women to take of their babies

• Focus is on the baby

Paula Modersohn-Becker background info

• German, expressionist movement

• Colors of this era more muted than impressionism, nostalgia and emotion

• Comes from educated background, being an artist is a good job for women in this period

Paula Modersohn-Becker’s colony

• Paula was an artist of the worpswede colony

• Many artists would go and live and work together because it was cheap

• Most of her work here had muted colors, not very bright. Not realistic.

• Decides she wants to have a career and see something else

• Leaves and goes to Paris

Paula Modersohn-Becker and Paris

• brought the discovery that there is indeed something else

• Influenced by Cezanne

• Paint what you see with your eyes or paint what you see with your mind

• Not “well painted.” You can see brushstrokes

• Influenced by Van Gogh (use of color in an expressive way)

• Overall sees artists that emphasize expressing yourself, paint what’s in your mind

Self portrait

• Paula Modersohn-becker

• Painted once she came to Paris

• More simplistic, symbolic

• Colorful

• Obvious influence from the artists she’s inspired by

• Wants to make art more modern in composition

• Not soft at all, rough

Otto Modersohn Asleep

• Paula Modersohn-becker

• She goes back to her colony and paints this man

• He asks her to marry him, she has a stepdaughter

• She loves him, but doesn’t really want to get married (means she would have to give up her passion to focus on family life)

Paula Modersohn-Becker and Images of motherhood

• Upsurge in painting mothers she sees in countryside

• *Many female artists paint this subject because they didn’t have much else they could paint

Silent mother

• Paula Modersohn-Becker

• Mother looks tired

• Baby is older, not an infant

• Mother has been doing this for 10 months (based on size of kid), probably has other children

• Holding baby’s hand

  • She’s tired, not really making lovingly eye contact, but still holding onto him

• Just about recognizing the reality of motherhood

• Depicts lower class compared to Cassatt

• Focused on the woman rather than the baby (same as Morisot)

Mother and Child

• Paula Modersohn-Becker

• A lot conveyed with not a lot of detail

• Very rare to have a nude by a female artist; Woman painting a nude

  • Realistic, body hair

  • Adding clothes is just adding unnecessary pieces

• Wanted to keep the spirituality by removing much detail in the woman and background, wanted the focus to be on the child and mother

• Usually in paintings of women breastfeeding, she is sitting

  • Laying down is actually more natural

• Texture is crusty and thick, can really feel it’s a creation

• More of a story in Cassatt’s Bath, emphasis on connection with mom and child

Nude Self Portraits

• Paula Modersohn-Becker

• Presenting herself as flower growing

• Uses flower as an extension of herself

• Women always being associated with flowers, seeing this as their personal power

• Trying to prove herself as a woman, we have a quality men don’t have

• Compared with self portrait of Cassatt

  • Cassatt more reserved, Impressionist (painting what she sees literally)

  • Modersohn expressionist, how she feels

  • Cassatt painting herself in a lying more relaxed and less lady-like (had to conform to male)

  • Modersohn very confident in her femininity

Self portrait on sixth wedding anniversary

• Usually pregnant women are supposed to hide themselves away and not do anything (compare with Morisot pregnancy portrait)

• Not as modest compared to Morisot piece

• She is looking down at us, and seems very proud

• Compared with Albrecht Durer Self portrait

  • Same text in the background

• Seems she is comparing her artistry to that of Durer

• She isn’t actually pregnant during this time

  • She is pregnant with art (usually men are the creation of art and women are the creation of man)

  • During time she left her husband and went to Paris

  • Using her sexuality as a reflection of her creativity, something men usually did

  • She doesn’t want her creation to be babies, but art

Naked Woman Breastfeeding Her Child

• Paula Modersohn-Becker In Paris after leaving her husband, but decides to return to Germany for him and has daughter

• Spotlight on the child, she is dark

• Represent sacrifice that mother will represent

• Not realist representation, but a symbol of sacrifice

• Letting the baby grow is taking the life/light out of the mother (plants in the background)

• She is giving up her career and work to be devoted to her child

• Mother is smiling, she’s not unhappy, but realizing the consequence of what is happening

• During a time when woman couldn’t choose not the be pregnant, children always chosen to be saved during childbirth over the mother (this was very common)

• She died of an embolism three weeks after child’s birth

Kathe Kollwitz background

• German expressionist

• Come from educated bourgeois background 

• Studied in art school for women

• Married family medical doctor Karl Kollwitz

  • Both very socially aware, didn’t want to make money but wanted to help the poor

  • Most of his clients could not pay

• Mostly did print making and lithograph

• The fate of the proletariat (the poor people) her main subject matter

• Also captured death

Pregnant Woman

• Kathe Kollwitz

• The fate of the proletariat (poor)

• Sad, may not have the money to take care of the child

• Shadowing very sad

• Compare with Morisot

  • Upperclass, I’ve given up my life as an artist to become a mother

  • Lowerclass: Can I feed another mouth?

Worker woman with sleeping child

• Kathe Kollwitz

• The fate of the proletariat (poor)

• Woman transferred her energy to the baby

  • Woman is not well fed, exhausted

• Compared with Modersohn’s breastfeeding child

Woman with dead child

• Kathe Kollwitz

• Captured death

• Focusing heavily on the grief

• Feel the child is very lifeless

  • Can see through the way the mother is holding the kid

Gabriele Munter background and self portrait

• German. Not super wealthy, but comfortable

• Education of girls was valued

• Became an orphan at a young age, no one to hold her back

• Went to the US at 18 years old to visit family by herself

• Took photographs, placed her shadow in some of her photos

• Came back to Germany and enrolled in an art school for women

  • Wasn’t satisfied with the simple things they taught the women

Gabriel Munter and Kadinsky

• Became student and lover to Wassily Kadinsky

• He came from a very good background, lawyer, educated

• He left everything to come to Germany and become an artist

• He’s teaching, she was his student (and lover)

• They start to have an affair even though he’s married. She can’t live with him.

• They start traveling together since they can’t be together in Germany

• Travels through North Africa and Europe

  • She completely adopted impressionist style from Kandinsky. More modern

• Gabriel Munter

• Impressionist influence from Kadinksy

• More focused on what she actually sees, light and shadow

• Brush strokes less individualized

Gabriele Munter and Paris and the Salon d’Automne

• An artist exhibit, movement Fauvism

• Matisse, Derain

• Colors arbitrary, crazy unrealistic and contrasting colors

• Forgets all the rules of painting

• Munter and Kandinsky see this style and movement 

Fauvism and Women

• Men could afford to paint badly while women couldn’t

• If there were certain weird distortions on a painting, A man would be told he was crazy, but a woman would be told she needs to go back to school. It’s difficult for a woman to be that free

Fauvism and Gabriele Munter

• She completely moves from impressionism to expressionism as a result of the fauvism movement

• Subjects change

• Colors not as realistic (used shadows before but not with her newer stuff)

• Brush strokes more individualize; brush strokes next to other brush strokes on her new stuff

Autumn Trees in Tutzing

• Gabriele Munter

• Expressionist/fauvism era

• Something more expressive and want to create the strongest effect possible, not based on what she sees

• Brush strokes more individualize; brush strokes next to other brush strokes on her new stuff

• No shadowed

Marianne Werefkin

• Gabriele Munter portrait of her friend

• Example of her shift to expressionism/fauvism

• Focus on the face

• Very different from her old self portrait

• Her self portrait suggests she wants to be seen as a professional and wanted to capture the reality and what she saw, emphasized accuracy and realism

• Doesn’t care about all that on the friend portrait: She wants to capture the spirit, wanted to create something that is her own vision, wants to be unique

• Outlined, expressive, color

Gabriele Munter and abstraction

• Munter was the partner of Kandinsky while he was transitioning towards abstraction and spirituality

• Only did one abstract painting, despite living with a man who focused on abstraction and was surrounded by people who also did

• If she started to do abstraction, people might say she is copying him and that she’s not unique

• She wanted to stay unique, she wasn’t interested in spiritual ideas

• People also thought those who moved towards abstraction were crazy and weren’t taken seriously

Boating

• Gabriele Munter

• Kadinsky in blue

• Her friend Marianne on the right and Marianna’s daughter on the left

• Munter rowing, man in the back not doing anything/passive position

  • She is making things work and taking care of the house, etc.

Gabriele Munter German Folk Art

• Depicted objects, still life

• While her man is transitioning towards weirder styles, she is going in the opposite direction

• He has big compositions floating in the air, while she is drawing things on tables and surfaces

Gabriele munter and Kadinsky’s departure

• WW1, Russia and Germany are at war

• Kadinsky had to leave, said goodbye in Stockholm and didn’t see each other again

• Munter hears nothing of Kandinsky, 

• She receives a letter from his lawyer asking her to return his painting he gave her

  • He had come back to Germany to work on bath house with his new wife

  • She told him she would give it back if he came and met her

  • He didn’t so she kept all of his work

Sonia Delaunay Background

• From Russia, Jewish family

• Had an Uncle with no children so they adopted her, causing her to grow up in a fancy way

Sonia Delaunay in Paris

• She goes to Paris

• Discovers Fauvism, color for the sake of color

• Lots of outline, simplification, intense color. 

Sonia and Robert Delaunay Marriage

• He was in between cubism and fauvism

• Interested in light, movement, color

• Has a son

Sonia Delaunay working in the applied arts

• Robert didn’t enjoy competition, and became nervous when anyone works next to him

• Her work is influenced by his which he obviously doesn’t like

• Began textile work (Robert encouraged her since there was no competition)

• Did a lot of book illustration, advertisement

• Did not limit herself, but found other outlets to express herself

• Blanket Sonia Delaunay made for her son

• Robert painting influence

• Still adapting Robert’s style but in textile

Prose of the Trans-Siberian and of Little Jehanne of France

• Sonia Delaunay

• Book illustration

• Applied art: Applied her skill and made money

Sonia Delaunay painting on the side after applied arts

• Go to Spain so that Robert doesn’t have to fight in the war

  • She gets a little more freedom because he is in a bad position, shifting the power dynamic a little

  • She needs to make a living, as their funds are taken

Sonia Delaunay Fashion Design

• Begins fashion designing as a way to make money

• Clothes for the modern woman

• Very successful

• Did a lot of fabric design

• Her work in fashion influenced later painting

• Instead of letting this break her passion for painting, she used it was an influence and extension

Sophie Taeuber-Arp Applied Arts and Dance

• From Switzerland

• Trained in Applied Arts and Dance

• Artists trained to be professional and sell

• Traditional embroidery and textile

  • Symmetry

• She was part of a generation of textile makers who wanted to make it modern

  • Wanted to elevate it to just art and for its own sake rather than as a couch, practical use, etc.

• There is no spirituality in her work, it’s about working with the mediums and working with the art

• Trained in Rudolf von Laban’s dance school

  • Wanted to work and reveal the body

  • He was one of the first to work on rotation system for dancers (think of body in a geometric way)

Vertical and Horizontal Composition

• Sophie Taeuber-Arp

• Embroidery

• No longer as symmetrical as traditional embroidery

• Geometric, abstract

• Really following line

• Usually try to hide these lines and 2d elements in traditional textile

  • Modern wants to be able to see the texture

• Instead of fighting the making and structure/texture, you reveal it

• Easier to move to abstract work with textile than with painting as you don’t have the rules of painting, have more freedom

• Art for art sake, rather than as a functional use like a blanket

Sophie Taeuber- Arp and Dada

• Dada emerged during WW1

• Started as a silly night club with event 

• Because WW1 was presented as rational and manly

  • They said if rationality is rolling around in the mud and fighting, than we don’t want to have anything to do with reality and want to be crazy

• Adopted it because they were at a time where ppl were killing each other for nationalism

Sophie Taeuber-Arp Performance at Cabaret Voltaire club

• Mocking the military

• She’s transforming herself into an image of military to make fun of it

Sophie Taeuber-Arp Puppet Shows at club

also did puppet shows (ppl said they were treated like puppets during WW1)

The Dada Aesthetics

• The night club died out and it became an aesthetic

• Tristan Tzara the face of this and Jean Arp

• Instead of logic and planning, go with chance and craziness

Dada Tapestry

• Sophie Taeuber Arp

• Attempt at breaking from the rigidity of the loom (very different from the strict geometry of her earlier textile)

• Desire to do no symmetry, random color. Dissonance

• Embroidery and symmetry of the loom move away from traditional to geometry, then dadaism

Elementary Forms

• A lot of movement, like it’s pushing on all sides

• Not creating that is completely random, but something to break free from the rigidity of the frame

Pathetic Symmetry, Sophie and Hans/Jean Arp

• Sophie worked with Jean Arp and eventually married him

• Embroidered by both Sophie and Hans Arp

• Amazing because they are working alongside each other

• Crazy for male artist to collaborate with a woman, let alone her own style (textile)

Sophie taeuber arp and Navigation between Art, Design, various different media

• Did interior design and painting, textile

• Fashion design

• Performance

• She was really trained as an applied artist and did everything. She wasn’t forced into doing a different thing

Hannah Hoch and applied arts

• German

• Big desire in Germany to educate women from upper class so that they would have a job

• Heavily trained in drawing, painting, graphic design, etc

• Worked for a long time at  German magazine, Die Dam

• Designed patterns for ladies embroidery that they would publish

• She wrote a manifesto on modern embroidery in 1918

  • Emphasizing it as an art rather than a craft

  • Doesn’t want people to repeat old patterns. Modern woman should know that embroidery reflects who you are, not 1700 patterns

  • Don’t repeat what has been done, that has nothing to do with your life (flowers, birds)

  • It should be a documentation of you

Hannah Hoch and Dada in Berlin

• Major figure of the German dada was Raoul Hausmann, who she married

• Image shows Hausemann's Mechanical Head the Spirit of our age

• Representation of Bourgeois German who doesn’t see anything doesn’t hear anything. Just wallet.

• This influenced Hoch

Cut with the Dada Kitchen Knife through the Last Era of the Weimar Beer-belly Culture

• Hannah Hoch

• Exhibited at the first international dada fair

• Clear influence from Hausemann

Hannah Hoch and The New Woman

• A big subject of her work

• Conservative party was in power in Germany and women were given the right to vote because they would vote who their pastor told them to (conservative)

The Beautiful Girls

• Hannah Hoch

• BMW cars, lightbulb above woman body (all very new things)

• If you want to be the new woman, you must buy the new things

• Commodification of this idea of the new woman. The new woman has become like a product that you sell to women

• Women have disappeared completely, it’s just a symbol of women being products

Marlene

• Hannah Hoch

• Against objectification of German Actress

• Men looking up at a pedestal of legs

• Displaying Marlene’s body as a product (“We don’t need a head, we don’t need a person, we just need this”)

Made for a party

• Woman’s eyes removed from her body

• The swimsuit is very sexy for its time

Dada Ernst

• Hannah Hoch

• Feminist critique of Dada

• Image of the seriousness of Dada

Da Dandy

• Hannah Hoch

• Women together making up the face of a man

• Portrait of her husband 

• Talking about how he was obsessed with women because of his affairs

• She asked him to marry her and divorce his wife

  • Told her she was so bourgeoise. “You are a modern woman, why would you want this?” She should be happy because she is free.

• Compared with artist rowing with her husband: Main subject is a man in each, but making fun of them. Both a self portrait of sorts.

Hannah Hoch and blurring gender lines

• Got with Dutch author Til Brugman. They dressed like each other a lot, her crossdressing

• Collages of man holding infant

John Berger and the evolution of the nude in western art

• Shame arose seeing each other naked after adam and eve ate apple

• Shame shifted from being a result of each other to shame produced by the watcher

• Nudity was a subject that specifically represented women, and the purpose shifted to the own pleasure of the artist and viewer, becoming objects of vanity for men

• This emphasis on beauty became a reason for judgment and competition. If men didn’t judge a woman as beautiful, than she wasn’t beautiful

Allori, Susanna and the Elders

• Nude woman with an elder

• Men were often added as an excuse to paint a woman nude

Rubens Venus before a mirror

• A common theme is a woman with a mirror, which was also used as an excuse to depict nude women

• Mirror was used as symbol of vanity

• The artist made her naked for his own pleasure, but he put a mirror in her hand and called it vanity

• Woman is very happy with what she sees, but most women look at themselves more critically than that

Rubens, The judgment of paris

• Venus, Juno, Aphrodite. Shephard had to pick out the most beautiful of all goddesses and they get the apple, causes trojan war

• Can be accepted as reasonable because it’s a historical painting and depiction

John Berger explanation for what a nude is in the western art tradition

• To be nude is to be a different person. It’s a costume and is meant to cater to the male protagonist outside the painting.

• Meant for the men to feel like men and for women to give up their femininity to the spectator

• Woman often looking out to the viewer, ignoring what’s going on in the background

• Suggestive gaze and position, giving all sexual power to man. This is why many women are depicted as clean and done up, as to have things like body hair means having sexual passion which is reserved for the man

Nudity vs Nakedness according to Berger

• Nakedness is a process, a quick moment in passing that won’t last. It’s more of an action, not on display for the viewer. Imperfections are highlighted.

• Nudity is a state, not just a quick moment in time. Highly posed and on display, catering to the spectator. In a constant state for the viewer rather than in the middle of an action

• For example, Paula Modersohn-Becker’s self portrait is for the pleasure of no one but the artist/subject herself

What questions does Carol Duncan raise in her Virility and Domination essay and why is this important

• How avant garde artwork portrays relationships between sexes, specifically looking at themes of sexual domination and virility in male artists

• This era of art if often idealized for being free and rebellious, but it only appeals to the freedom of middle class men

• To be truly creatively independent and free for a traditional bourgeois lifestyle, they had the break the rules of society by having many mistresses

Kirchner’s Girl Under a Japanese Umbrella

• Represented as powerless and no identity

• Heavily sexualized, catered to the male viewer

• The perspective has the artist in a position over her, suggesting male power and dominance

• A representation of his own virility, as the model and face don’t matter and her breasts and butt are what’s emphasized. She is merely flesh.

Dongen’s Reclining Nude

• Represented as powerless and no identity

• Heavily sexualized, catered to the male viewer

• She is reduced to just her body, no face

• “So much animal flesh, a headless body”

Kirchner’s Self portrait with model, what messages these works convey

• Suggests the idea that bold and creative art was linked with male erotica and sexuality and submission of women

• Woman is submissive in power, cringing while Kirchner holds a thick paintbrush at groin level

• Woman is in lingerie while he is only in a robe

• All phallic

How did avant-garde artists represent their female models

• the women were often depicted as lower class, disposable

• The women were going studio to studio merely acting as the model and decor for these male artists

• The artists didn’t take them seriously. They exert dominance over women to be successful in avant garde

• The woman can be changed, it doesn’t matter who they are, as long as they have their body.

• Some women depicted as savages and animals