Wednesday, April 1, 2009

Answer to Women Artists of the Nineteenth Century



I want to thank everyone who responded on my blog and on Facebook. It is unfortunate there are no monographs on these women. In fairness to those who didn't get the names to all of them correct, only a handfull of these artists were known to me---the rest I found during my research into 19th Century women artists.

The images of the last post from top to bottom. Here are the names of the artists...

Marie Bashkirtseff 1860-1884 Ukrainian/ Russian, studied with Jules Lepage and Tony Robert Fleury


Louise Abbéma 1858-1927 French, studied with Carolus Duran







Eleanor Fortescue-Brickdale 1872 – 1945 English, studied with Herbert Bone at the Royal Academy




Juana Romani 1869-1924 Italian, studied with Jean Jacques Henner and Ferdinand Roybet in Paris



Maria Martinetti 1864-1921 Italian, studied at the Academy of Fine Arts in Rome with Gustavo Simoni



Marie Aimée Elaine Lucas-Robiquet 1858 – 1959 Normandy, studied with Félix-Joseph Barrias.




Sarah Stilwell Weber 1878-1939 American, studied with Howard Pyle




Anna Bilinska Bohdanowiczowa 1857-1893 Polish, studied with Rodolphe Julian




Marguerite Stuber Pearson 1898-1978 American, studied with Edmund Tarbell

5 comments:

ryandbeckwithillustrator said...

I can hardly claim to be a thoughtful observer or advocate of women's art through history, so props for taking up the torch. That said, can I suggest that by listing the names of the teachers with the artist, you are taking away credit from the artist, a concern you expressed in your previous post. I'll admit I find the information useful to put the work into context, but I find myself thinking "Oh that's certainly Pyle's influence or Duran's palette," rather than noticing what's unique or noteworthy about the painting in it's own right.
Full disclosure, I'm a male. I love this blog, but I am unfairly commenting for the first time on the occasion of my first complaint.
Apologies.

ARMAND CABRERA said...

Thanks for your response. Here is the reason I included the teachers and where the artists studied. An artist, Timothy Tyler, asked if he could guess influences, rather than specific artists. By providing the teachers, I don't feel it diminished the power of these remarkable women and their art. Keep 'em comin'. I appreciate your thoughts. AC

Sadie J. Valeri said...

I think it's great to include the teachers, it's useful to see how any artist fits into art history to know their lineage.

I certainly understand the concern of sharing the accomplishments of female artists with their male teachers, but I don't think that's happening here.

Thanks for making the page, it's a great resource!

innisart said...

I think the teachers need to be included, not only because it shows where these female artists fit in the timeline, but also shows which teachers were progressive enough to include women in their classes. Remember, this was a time when it was acceptable for women to learn crafts like needlepoint, but not portraiture; it was a man's field. Also, I think it takes nothing away from the women's accomplishments. Many men AND women went through the studios of these teachers, and to have created great works of art and to be remembered so many years later is an accomplishment no matter the artist's gender.

Bashkirtseff's diaries from her time at the Academie Julian were published after her untimely death from tuberculosis, and can probably still be found. Beware the dates in her journals, though, since her family changed them all, making her seem younger for all of her accomplishments so that she'd appear a prodigy.

ARMAND CABRERA said...

Good tip Matthew, Marie Bashkirtseff's diary is still in print and available.
On a side note, innisart (Matthew Innis) was the artist who correctly identified more images than any other participant, so he can claim bragging rights.
Check out his blog at
http://underpaintings.blogspot.com/