Women in Art His Midterm

Edmonia Lewis, Old Indian Arrow-Maker and his Daughter

Mixed Black and Native American woman sculptor. No ethnic markers to disconnect her work from her background, she also did not want to be seen as an exotic curiosity. Sculpting was considered a masc art form. Refused critiques from her contemporaries due to her identity (felt being a woman and multiracial, she was especially vulnerable)

Marie Loir, Marquise du Châtelet

Asserts the patron’s identity by having her take up space. Looks at viewer directly and confidently. Holding some sort of compass and a carnation (representing her femininity). Had interests in science and mathematics at the time, surrounded by attributes of those subjects: in front of a bookshelf, stacked papers to show she is working, solar system in background.

Maurice Quentin de La Tour, Madame de Pompadour

Artist produced this for Pompadour for her personal collection, showed at the salon in Paris to help her reputation and to legitimize her place in court after the affair ended. Is a woman, but she is also an intellect. Fashioned her identity: reading a music score, many books at the desk she is at, Encyclopedia on her desk, new publication at the time, a special enlightenment project to try and make knowledge accessible to the masses, she aided in this project. Very regal silk attire with lacing, which emphasizes her femininity. Flower motifs in dress, calling back to her love of nature. Lover of music. Artists and sponsor of arts.

Angelica Kauffmann, Cornelia Presenting her Children as her Treasures

Trained by her father and was a founding woman of the royal academy. History painter despite barriers for women. Artists forefront of neoclassical movement.

Elisabeth Vigée Le Brun, Self-Portrait in a Straw Hat

Unnatural ambition and feminine identity. Outside and not tied to domestic life. Natural hair, pastoral living, large hat. Tools of her profession. Fashionable yet modest wealth shown in drop earrings. In conversation with Ruben’s The Straw Hat: Sought to replicate the feeling. Show she researched and studied to have a connection to renowned artists. Changed pose to show herself assertive and not an object of the male gaze.

Vigée Le Brun, Maternal Tenderness

Reference to Raphael Madonna and Child. Shows herself as a good mother. Natural unpowdered hair, turban, holding her child close with a soft smile.

Vigée Le Brun, Portrait of Marie-Antoinette en chemise

non-traditional depiction of the queen.

Carle Van Loo, Portrait of Marie Lezszinska, Wife of Louis XV and Queen of France

Vigée Le Brun, Portrait of Marie-Antoinette à la rose

Adolf Ulrik Wertmüller, Marie-Antoinette, Madame Royale, and the Dauphin in the Gardens of Trianon

Alexis Simon Belle, Marie Leszczinska and the Dauphin

Elisabeth Vigée Le Brun, Marie-Antoinette and her Children

Pierre-Paul Prud’hon, Joséphine de Beauharnais at Malmaison

Empress Joséphine's retreat and gardens at Malmaison

Joseph Franque, The Empress Marie-Louise Watching Over the Sleeping King of Rome

Franz Xaver Winterhalter, The Empress Eugénie Surrounded by her Ladies

Anne Guerét, Portrait of an Artist Resting on a Portfolio

Dubufe, Portrait of Rosa Bonheur

Rosa Bonheur, Plowing in the Nivernais

Bonheur, The Horse Fair

Anna Elizabeth Klumpke, Portrait of Rosa Bonheur